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Re-Reading Millôr Fernandes's Haikus from the Perspective of Epigram
http://hdl.handle.net/2261/0002007471
http://hdl.handle.net/2261/0002007471073ee00a-58c6-4d33-a95d-1f7919cc6d8d
| 名前 / ファイル | ライセンス | アクション |
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WCL1619007.pdf (157.5KB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
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| 公開日 | 2023-04-24 | |||||||
| タイトル | ||||||||
| タイトル | Re-Reading Millôr Fernandes's Haikus from the Perspective of Epigram | |||||||
| 言語 | en | |||||||
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| 言語 | eng | |||||||
| 資源タイプ | ||||||||
| 資源 | http://purl.org/coar/resource_type/c_6501 | |||||||
| タイプ | departmental bulletin paper | |||||||
| 著者 |
NAKAYA, Nodoka
× NAKAYA, Nodoka
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| 著者所属 | ||||||||
| 言語 | en | |||||||
| 著者所属 | Program in Comparative Literature and Culture | |||||||
| 抄録 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | The Brazilian Millôr Fernandes (1923–2012) created a range of artworks, including the haiku-painting collection Hai-Kais. This consists of 93 his haikus and his paintings, published in a magazine format from 1957 to 1986. Millôr’s Hai-Kais met with commercial success and popularized the haiku in Brazil. However, his haikus have not met praised in perspective of the discipline of literature. For example, Paulo Franchetti (1954–), a Brazilian authority on the haiku study, referred to Millôr’s haikus as epigrams. This term was previously used as the alternative word by the West to describe the haiku. However, Paul-Louis Couchoud (1879–1959), when introducing the haiku to France, did not compare it to the epigram, as epigrams tend to be satirical, which the haiku is not. Franchetti agreed Couchoud’s definition of the haiku and thus likely recognized that an epigram was not an appropriate term to characterize the haiku, although he nevertheless used it for Millôr’s haiku. Do all of Millôr’s haikus contain satire? This paper conducts a re-reading of Millôr’s haiku with focus on the term epigram. This paper also focuses on kigo (the Japanese word for a specific season) as concept generally not found in the epigram and as an important element of Franchetti’s ideal of the haiku. The variety of Millôr’s haiku world is examined with reference to Millôr’s epigrammatic haikus and nonepigrammatic haikus. |
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| 言語 | en | |||||||
| 書誌情報 |
en : Windows on Comparative Literature 巻 16-19, p. 31-39, 発行日 2023-04 |
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| 収録物識別子タイプ | NCID | |||||||
| 収録物識別子 | AA12223121 | |||||||
| 出版者 | ||||||||
| 出版者 | Comparative Literature and Culture Program, Graduate School of Arts and Sciences, Department of Interdisciplinary Cultural Studies, The University of Tokyo | |||||||
| 言語 | en | |||||||
