Advanced
Studies in Poetry: Global Haiku Tradition |
Millikin
University |
Global Haiku Tradition Assignments BlogAll writing assignments are to be submitted by email attachment. Haiku to Edit 1 • Haiku 1 Edited Kukai 3 • Kukai 3 Matches & Commentary Matching Contest Snow 1 • Matching Contest Snow 1 - Results Matching Contest Snow 2 • Matching Contest Snow 2 - Results Haiku to Edit 3 • Haiku 3 Edited Haiku to Edit 3 Kukai • Matching Contest 3 • Results Haiku Response Stories 1 • Responses 1 (sequences & haiku) Matching Contest 4 • favorites Photograph Response Matching Contest 5 • favorites Matching Contest 6 Spring Break 1 • favorites Matching Contest 7 Spring Break 2 • favorites 1 Tan-Renga • capped • capped favorites Matching Contest 8 • favorites Reading & Writing Assignments by Dates: for 1/17 reading: Lull Before Dark, haiku and introductions (all prose matter) writing: select 3 favorite haiku and briefly write your imagined, felt response to them. be ready to discuss why you like them and write your first 3-5 haiku attempts on those transition times—lulls of dawn, of dusk, of relationships, of states of consciousness, of between semesters). (email your 3 responses & 3-5 haiku by midnight Wednesday, January 16) for 1/22 writing response to Kukai 1: write your imagined felt responses to your favorite haiku from kukai 1 (one paragraph each) reading: To Hear the Rain, pages 1-64, introductions, prose (and the interview in the back of the book) writing response: find 4 favorite Lyles haiku—write your imagined felt responses to them (one paragraph each) writing extended memory & memory haiku: then go into more depth with a fifth haiku that especially triggered memories from your childhood or past (about a one page memoir) describing a memory from your own life. THEN write 3-5 haiku which capture different moments or feelings from within that longer memory from your experience. You may want to especially explore a childhood memory as well as more recent memories. haiku write: 4-5 haiku on the coldness (not ABOUT the cold but about a moment of encountering the cold—cold wind, cold walk, cold hands, cold car, chill). (email your 4 short responses & one 1-page memior & 7-10 new haiku by midnight Sunday, January 20) for 1/24 reading: the other half of Lyles’ book (65-128 pages) haiku reading responses: select 3 more favorite haiku by Peggy Lyles and briefly write your imagined, felt response to them. be ready to discuss why you like them.
haiku write: again write an extended memory writing from one of Peggy's haiku, then try writing 2-3 haiku that capture the best images that arise in your memory (email your 3 responses & extended memory & 2-3 haiku by midnight Wednesday, January 23) ALSO bring a printed copy of your extended memory to class for our editing session. And have someone from your group email me your list of characteristics of the best haiku. for 1/29 editing group haiku: based on the haiku editing workshop in class on Thursday, send me variations and edit suggestions for 3-5 haiku from the HAIKU TO EDIT 1 handout. Also send me variations from haiku we edited in class. writing your final edits: Based on images in your memory writings and any other work you have don up to now, write variations and indicate your choice of final versions for 6-8 of your haiku written previously this semester. You may submit new haiku as well. Send your edit variations and 6-8 final versions by email due midnight, Sunday, January 27. for 1/31 reading: handout of haiku from Almost Unseen by George Swede writing response 1: select your favorite 6-10 haiku from Kukai 2 and write your imagined response to two favorite haiku. (email your 2 response paragraphs to me by midnight, Wednesday 1/30) writing response 2 : find two favorite haiku from the handout and write a short response paragraph to one of them AND write a longer memory response with 3-5 new haiku to your other favorite haiku by George Swede. (email your 1 response paragraph and 1 memory response with 3-5 new haiku to me by midnight, Wednesday 1/30) for 2/5 reading response 1: find an interesting "matched pair" of haiku (one from George Swede and one from Peggy Lyles or Caroline Gourlay) to read side by side. write a short analysis of the writing strategies and techniquse used in these haiku. (not reader response but analysis of writing techniques such as line break, word choice, arrangement, rhythm, sounds, emphasis, break, voice, tone, attitude, etc.). one page maximum for your analysis (half a page is fine). reading response 2: compare the genesis of discourse for your two authors (George Swede and the other). why do they choose to write haiku about these moments? what is the source of significance worth turning into a literary artwork for them? reading: Haiku Handbook Chapter 2 (handout) response writing 3: find 1 favorite Japanese haiku & match it to 1 favorite English language haiku—write your short imagination responses to them (one short paragraph each), then write a short comparison of differences and similarities in the Japanese haiku and English-langauge haiku snow haiku writing: write 5-10 new haiku attempts on perceptions and moments of snow or ice (current experiences, memories, childhood, bird feeders . . . try a variety of perspectives and feelings). extra credit: 3-5 superbowl senryu (treat the word "superbowl" as a kigo or seasonal hint). try George Swede's more dark-side or ironic or human psychological approach for 2/7 reading response 1: read and enjoy the snow kukai 3. find two matches (four haiku total) and write about the pair of haiku and which one you like better (you don't have to say much about the one you don't like better). From your responses I will create the two Matching Contest 1 & Matching Contest 2 from your snow haiku. haiku writing: 4-8 new haiku or senryu attempts with a clear seasonal connection (kigo) to things happening right now (groundhog day, fat tuesday, mardi gras, super tuesday, ash wednesday, pancakes day, snow melting, foggy night, lent, end of advent, forty days) . . . email your responses to the 2 matched pairs and your new haiku attempts by midnight Wednesday, February 6 for 2/12 reading: Love Haiku by Masajo Suzuki, Introduction and haiku from pages 1-64 reading responses: find two favorite haiku by Masajo and write a short response paragraph to both of them. (email your 2 response paragraphs to me by midnight Sunday Feb. 10) writing love haiku or senryu: write 6-8 love/Valentine's Day haiku. Not necessarily all lovey-dovey cliches, but love, lust, crushes, unrequited love, bitterness about love, winter dance, sock hop and so on . . . Send your Valentine's Day haiku to at least one other student (a probable member of the group you are forming) and to Dr. Brooks by midnight, Sunday Feb. 10. for 2/14 could be a Valentine's Day kukai? writing response: select 10-12 favorites from the kukai 4 on Love & Valentine's Day and write a short imagined response to two. bring your list of favorites to class and email your response paragraphs by midnight, Wednesday Feb. 13 haiku editing: send alternative versions to 3 haiku written by others from the Haiku to Edit 3 handout AND edited versions of your own haiku from that page. due by email, midnight Feb. 13 valentine haiku exchange: bring 20 copies of one of your favorite Love Haiku (can be by you or by someone else or a new haiku you just wrote or edited) and sign the 20 copies for a valentine's day gift exchange for 2/19 reading: Love Haiku by Masajo Suzuki, haiku from pages 64-128 reading responses: find three more favorite haiku by Masajo and write short response paragraphs to 2 of the haiku. Let your third response be a more extended imaginative memory or fictional piece about someone spinning off the third Masajo haiku as its starting point. End your fictional or imagined or memory wandering with a haiku. writing haiku: write 4-6 haiku about relationships (ninjo haiku) but be sure to include some aspect of nature or season or context-setting thing (ninjo-nashi) element in each haiku. (email your 2 Masajo picks, your 1 ficition spin-off with a haiku, and your 4-6 relationships haiku by midnight, Sunday Feb 17) for 2/21 individual reading response: write a paragraph about your favorite haiku story from 1 Haiku Response Stories and write 1-2 haiku from your response to that story team collaborative response: review your team members' response stories and write a short sequence of 5-7 haiku out of one of your team's favorite stories. edit all of your sequence haiku and have one team member write a short introduction to your sequence. give your sequence a title email your individual favorite story response and have one member email your team sequence to me by midnight, Wednesday February 20 for 2/26 in class group discussion starts this assignment on February 24th: What are the essential elements of the very best haiku? What makes some haiku better than others? How would you define or describe the characteristics of the best haiku? What must a highest-quality haiku do (for? with?) for readers to be effective? How do haiku work or function as literary art? How would you characterize the essentials of the genre of haiku?
in class group genre analysis: As a group (with your designated leader/writer), compare the essentials of another genre with haiku as a genre. What do you like best in top-quality examples of both your genre and in haiku? (Discuss at least 3-5 haiku examples in comparison and contrast with at least 2 examples of your comparison genre.) Definitions of genres, especially literary genres, usually includes some expectations of form or structure, so our next question is to consider the formal elements of haiku. But genres also include certain expectation of content and aesthetic experience. email your written group report plans: reading group representative write your group's statement of the essential elements, techniques, characteristics of the best, well-crafted, well-written haiku . . . what are characteristics of your favorite, most effective haiku (use at least 3-5 examples from readings so far). This is the first half of a genre study of haiku. Also, let me know what your group is planning to compare the art of haiku to. Email the group statement on high quality haiku in the genre by midnight, Sunday, Feb. 24. haiku & astronomy Send me your bullet points and 3-5 haiku examples and note of your 2 other genre for presentation by midnight, Sunday, Feb. 24. writing haiku: 3-5 haiku related to elements (things, reality, settings, contexts) often associated with your comparison genre. (Or just write 3-5 new haiku about anything you want to write about as an alternative.) Send me your 3-5 new haiku by midnight, Sunday, Feb. 24. for 2/28 group report presentation IN CLASS on 2/28 (PowerPoint or Web Pages on the computer screen). Bring them on a flash drive or email them to yourself for easy access. Email copies of all presentation materials by midnight, Wednesday February 27 complete your group genre comparison report: reading group representative write your group's comparison of haiku genre to the other genre . . . similarites, differences in these performances/productions? (use at least 2 main examples from the comparison thing). This is the second half of a genre study of haiku. Excellent reports & presentations will published on the MU Haiku web site: haiku & Millikin = Milliku email me: your written comparison report (1 per group • 5 single-spaced pages max) by email by midnight Wednesday Feb. 27 writing response to Kukai 5: write your imagined felt responses to a favorite haiku from kukai 5 (one paragraph for one favorite haiku) due midnight, Wednesday Feb. 27 for 3/4 reading: Chapters 1-2 of Matsuo Bashô by Ueda (pages 1-68). Select four favorite haiku from Bashô (including one each from Ueda's conception of four different phases of Bashô's work). Write a paragraph response to three of these four haiku. email due midnight, March 2. writing a memory response: Write an extended memory response (about 1 page) to one of Bashô's haiku, and end your extended memory with 3-5 original haiku. email due midnight, March 2. each team submits their idea and instructions for a special kukai or matching contest (name the theme or approach other students should take to enter into the kukai). submissions come to Dr. Brooks who sends them on to the team for contest set up
Extra Credit ROAD TRIP Opportunity: Go to the Japan House on Wednesday, March 5 at 5:30pm to hear the Shakuhachi (Japanese bamboo flute) performance. It's free. Write haiku about the road trip and at some haiku about the shakuhachi. Address: 2000 S. Lincoln Avenue, Urbana, Illinois. You can see more details on the Japan House web site: http://japanhouse.art.uiuc.edu/ Also, on Thursdays there are Tea Ceremonies at the Japan House which count for extra credit in the Global Haiku Traditions class. Go. Write haiku. Get extra credit. Here's the details:
for 3/6 reading: Chapter 2 of Matsuo Bashô by Ueda again. Find two matching English haiku to Bashô's haiku—one representing the aesthetic of sabi and one the aesthetic experience of karumi. Write a paragraph for each pair comparing these English haiku with those by Basho. One sabi haiku not by Basho compared to one sabi haiku by Basho. And one karumi haiku not by Basho compared to one karumi haiku by Basho. send your two comparison pairs to me by email by midnight, wednesday March 5. matching contest favorites: complete the matching contest 4 and write about your favorite matched pair that comes up in your competition. email to me by midnight, wednesday March 5 for 3/11 reading: "How to Rengay by Randy Brooks" (rtf download) and bring it to class next Tuesday (no written response required).
writing haiku: write haiku on team competitions Brooks-ku, Haiga, and Photo Response Haiku and send them to Dr. Brooks by midnight, Sunday March 9. for 3/13
writing haiku: write haiku on team competitions for You-Tube Haiku, and Dream Haiku and send them to Dr. Brooks by midnight, Tuesday March 11 (or earlier). SPRING BREAK! March 17-24 for 3/25 reading response writing: Share 10-20 of your best haiku with family and friends over spring break, and see which ones they like the best. Write an email to me about favorites selected by your family and friends. Which ones did they like best and why? email by noon Monday, March 24. haiku writing: write 10-20 haiku or a haiku sequence over Spring Break about your life's reality during spring break or about special locations and places of significance to you in your home town. Don't write a bunch of cliches or stereotypical spring break stuff. Write from the reality of YOUR actual spring break. email by noon Monday, March 24. for our kukai! Yes, spring break kukai will be Tuesday. (We are almost ready for tan-renga and rengay writing, so there may be a tan-renga kukai in the works). AND HAVE FUN ON SPRING BREAK! Enjoy the daily gifts and blessings of being. alive! for 3/27 reading: The Haiku Anthology, pages 1-60 including the introductions. select 3 favorites and write a paragraph response to 2 favorite haiku and a full page memory response to 1 haiku ending with 2-3 new haiku by you. send your response writing to me by email by midnight Wednesday, March 26. matching contest favorites: write about your favorite matched pair from Matching Contest 6 and from Matching Contest 7. email to me by midnight, Wednesday March 26 in class capping contest: This haiku served as our starting verse for class tan-renga capping:
for 4/1 (advising day, but send in your homework!) reading: The Haiku Anthology, pages 60-157. select 5 favorites and write a paragraph response to 2 favorite haiku and write a haiku technique analysis to 1 favorite. send me your three paragraphs by email by midnight Sunday, March 30) haiku writing: write caps to the group's capping verses (tan-renga starts from class on 3/27). email your caps to me by midnight Sunday, March 30. I will post them on the tan-renga capped page at: http://www.brooksbookshaiku.com/MillikinHaiku/haiku/courses/globalSpring2008/1TanRengaCapped.html for 4/3 - TEAM RENGAY WRITING DAY! YOU MAY MEET ANYWHERE YOU WANT AS A TEAM. YOU DO NOT NEED TO COME TO LIBRARY 029, BUT YOU WELCOME TO MEET THERE IF YOU WANT. in class team writing assignment: write 2 rengay with your group following the guidelines in the handout, HOW TO WRITE RENGAY (download a new doc file copy if needed). (These rengay may be done during our usual class time 9:30-10:45 or outside that class time if the team prefers). Send your team rengay to me by midnight, Thursday, April 3 reading: Bashô (Chapter 3 The Renku), pages 69-111 and email a ¶ me about one favorite link (or image switch) in one of the renku examples. email by midnight Wed., April 2. haiku editing writing: with partners in your group select favorite caps for your group's TWO tan-renga capped and someone from your group write a paragraph why it is your group's favorite tan-renga. email by midnight Wed., April 2. for 4/8 reading: The Haiku Anthology, pages 158-327. select 5 favorites and write a paragraph response to 2 favorite haiku and an extended memory response to 1 favorite (ending with 2-3 haiku from your memory). send me your three paragraphs and extended memory haiku by email by midnight Sunday, April 6. reading & writing: write 2 more rengay (one with someone in or who has taken haiku class) and (one with friends or family outside haiku class). email by midnight Sunday, April 6. haiku author study: email the name of the author you plan to study by midnight Sunday, April 6.
for 4/10 reading: Traces of Dreams, Chapters 1 through 5, pages 1-159 on writing Kasen-no-renga. find and write about one example of a favorite haiku in English (by a fellow student or from your books) that demonstrates each of the following 3 types of aesthetic linking (yes, three haiku and a short paragraph for each) email them to me by midnight Wednesday April 9:
writing response: select 1 favorite rengay from 1 Rengay kukai. write a short paragraph why this rengay is your favorite rengay discussing the aesthetic experiences of linking evident in that rengay. email your 1 rengay kukai response paragraph to me by midnight Wednesday, April 9 for 4/15 Read the student kasen renga by Bri Hill and students from Spring 2003 Global Haiku Traditions at: http://www.brooksbookshaiku.com/MillikinHaiku/haiku/studentrenga/Grasshoppers&Tobacco.html Plan a haiku writing gathering with classmates and/or friends (groups of 4-7). This can be any day with the resulting kasen-renga (36-links) due midnight, Sunday April 13. This is a gathering for writing linked verse—if it's nice out you could gather in the park or at Rock Springs or at someone's place. Allow the spirit of the place where you gather to be a springboard for the haiku, but don't limit yourself to that place once you get into the linking. Let your links go out through time and seasons moving from person (ninjo) focused to non-person (ninjo-nashi) focus to avoid too much continuity of persons or scenes. Try to avoid more than three ninjo or ninjo-nashi links in a row. Remember, every two links make a new poem. Using the following guide, try writing a kasen-no-renga.
Write a 36 link kasen-no-renga:
I'm so excited that you are going to be writing a kasen renga this weekend. If you are interested in another excellent resource on writing renku, including kasen renga, here is one of the best web sites available in English: http://uk.geocities.com/johnedmundcarley@btinternet.com/ John Carley includes the seasonal expectations of the Japanese kasen renga in his guides, but one of his best pieces is the straight forward discussion about the process of linking AND shifting. Enjoy linking and shifting! I look forward to the readings next Tuesday. email me your kasen-renga due Sunday, Midnight April 13. and bring one copy to class (properly folded and belted) for sharing in class on April 15 for 4/17 reading: Bashô (Chapter 4 Prose), pages 112-146 and email a ¶ about the three different types of haibun Bashô wrote. writing: write 2 haibun (one to capture the sense of being somewhere special and one that let's us see and understand the personality and atmosphere surrounding someone's life). email your haibun to me by midnight, April 16 for 4/22 haiku project proposal: The purpose of the haiku project is to apply haikai arts to something that means a lot to the student—usually something related to their major field of study. Bring your passion to this project and connect it to haiku (photography & haiku) (music & haiku) (history and haiku) (psychology & senryu) (a kasen renga) (baseball haiku) (a collage of haiku) (haiku web site) (anthology of love haiku) . . . have fun with this. make it your dream assignment. email me a paragraph explaining your project plan by midnight April 20. Haiku projects are due May 6
reading: Matsuo Bashô by Ueda, chapter 5 the critical commentaries, pages 147-169. reading response: using Bashô's technique of matching pairs of haiku, find two haiku you want to place side by side for discussion and comparison. Write a short paragraph discussing them and why you like one better. due Sunday, Midnight April 20 reading response: write a paragraph about one favorite person haibun and one favorite place haibun from our 1 Haibun Kukai. OR write a "haigoon" which takes on an unusual goon perspective. due Sunday, Midnight April 20 reading & responding to your author: write a paragraph response to 3 favorite haiku by your author. share these haiku (or 5-10) with friends and collect a variety of responses to them. do on an extended memory response to 1 favorite by your author (then write 2-3 haiku from your memory). send me your 3-4 favorites responses and extended memory haiku by email by midnight Sunday, April 20 for 4/24 reading: Masaoka Shiki by Janine Beichman, preface and chapter 2, pages 30-73. find 2 favorite haiku by Shiki and write a response paragraph to them. email to me by midnight Wednesday, April 23 writing response: select 1 favorite haigoon from 1 Haigoon kukai. write a short paragraph why this haigoon is your favoritey. email your response paragraph to me by midnight Wednesday, April 23. You may still write a haigoon which will be added to the kukai. Votes will be first thing 4/24. for 4/29 haiku author study due. email to me by midnight Monday, April 28. bring a print copy of your study to class Tuesday. We will start author presentations on April 29. for 5/1 haiku author presentation, day 2 extra credit reading response: find a favorite haiku by Randy Brooks, and write a reader response paragraph to it. email your response paragraph by midnight, April 30 for 5/6 haiku projects due (to be shared the last day of class). email the contents of your projects (the haiku at least and introduction & photographs or power point, etc) by Midnight May 5th. Final Kukai 9—Select your favorite 15 haiku from the Final Kukai & write a paragraph about three favorite haiku. email your list of 15 favorites and your paragraphs to me by Sunday midnight, May 4. Voting will be by email only with announced winners in class. (1) Signature haiku gift exchange and haiku chapbook collections are due Tuesday, May 6th.
(2) Haiku Collection Booklets due: Select and organize your best haiku & senryu & haibun & renga into a collection. Make a little booklet, or print them in a binder, or write them in a blank book.
for 5/8 haiku final (a haiku reading) Thursday, May 8 from 10:30-12:30 @ Pilling Chapel
(1) Global Haiku Reading, Thursday May 8, 10:30am-12:30pm. I will bring your chapbooks and return them to you at the final Global Haiku Reading at Pilling Chapel.
(2) Submission to Haiku Magazine Final.
|
||||
|
