Search results for ""Author Steven D. Carter""

A court lady of the Heian era, an early modern philologist, a novelist of the Meiji period, and a physicist at Tokyo University. What do they have in common, besides being Japanese? They all wrote zuihitsu-a uniquely Japanese literary genre encompassing features of the nonfiction or personal essay and miscellaneous musings. For sheer range of subject matter and breadth of perspective, the zuihitsu is unrivaled in the Japanese literary tradition, which may explain why few examples have been translated into English. The Columbia Anthology of Japanese Essays presents a representative selection of more than one hundred zuihitsu from a range of historical periods written by close to fifty authors-from well-known figures, such as Matsuo Basho, Natsume Soseki, and Koda Aya, to such writers as Tachibana Nankei and Dekune Tatsuro, whose works appear here for the first time in English. Writers speak on the experience of coming down with a cold, the aesthetics of tea, the physiology and psychology of laughter, the demands of old age, standards of morality, the way to raise children, the Great Kanto Earthquake of 1923, the thoughts that accompany sleeplessness, the anxiety of undergoing surgery, and the unexpected benefits of training a myna bird to say "Thank you." These essays also provide moving descriptions of snowy landscapes, foggy London, the famous cherry blossoms of Ueno Park, and the appeal of rainy vistas, and relate the joys and troubles of everyone from desperate samurai to filial children to ailing cats.

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While the rise of the charmingly simple, brilliantly evocative haiku is often associated with the seventeenth-century Japanese poet Matsuo Basho, the form had already flourished for more than four hundred years before Basho even began to write. These early poems, known as hokku, are identical to haiku in syllable count and structure but function differently as a genre. Whereas each haiku is its own constellation of image and meaning, a hokku opens a series of linked, collaborative stanzas in a sequence called renga. Under the mastery of Basho, hokku first gained its modern independence. His talents contributed to the evolution of the style into the haiku beloved by so many poets around the world--Richard Wright, Jack Kerouac, and Billy Collins being notable devotees. Haiku Before Haiku presents 320 hokku composed between the thirteenth and early eighteenth centuries, from the poems of the courtier Nijo Yoshimoto to those of the genre's first "professional" master, Sogi, and his disciples. It features 20 masterpieces by Basho himself. Steven D. Carter introduces the history of haiku and its aesthetics, classifying these poems according to style and context. His rich commentary and notes on composition and setting illuminate each work, and he provides brief biographies of the poets, the original Japanese text in romanized form, and earlier, classical poems to which some of the hokku allude.

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How to Read a Japanese Poem offers a comprehensive approach to making sense of traditional Japanese poetry of all genres and periods. Steven D. Carter explains to Anglophone students the methods of composition and literary interpretation used by Japanese poets, scholars, and critics from ancient times to the present, and adds commentary that will assist the modern reader.How to Read a Japanese Poem presents readings of poems by major figures such as Saigyō and Bashō as well as lesser known poets, with nearly two hundred examples that encompass all genres of Japanese poetry. The book gives attention to well-known forms such as haikai or haiku, as well as ancient songs, comic poems, and linked verse. Each chapter provides examples of a genre in chronological order, followed by notes about authorship and other contextual details, including the time of composition, physical setting, and social occasion. The commentaries focus on a central feature of Japanese poetic discourse: that poems are often occasional, written in specific situations, and are best read in light of their milieu. Carter elucidates key concepts useful in examining Japanese poetics as well as the technical vocabulary of Japanese poetic discourse, familiarizing students with critical terms and concepts. An appendix offers succinct definitions of technical terms and essays on aesthetic ideals and devices.

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As direct descendants of the great courtier-poets Fujiwara no Shunzei (1114–1204) and his son Teika (1162–1244), the heirs of the noble Reizei house can claim an unbroken literary lineage that spans over eight hundred years. During all that time, their primary goal has been to sustain the poetic enterprise, or michi (way), of the house and to safeguard its literary assets.Steven D. Carter weaves together strands of family history, literary criticism, and historical research into a coherent narrative about the evolution of the Reizei Way. What emerges from this innovative approach is an elegant portrait of the Reizei poets as participants in a collective institution devoted more to the continuity of family poetic practices and ideals than to the concept of individual expression that is so central to more modern poetic culture.In addition to the narrative chapters, the book also features an extensive appendix of one hundred poems from over the centuries, by poets who were affiliated with the Reizei house. Carter’s annotations provide essential critical context for this selection of poems, and his deft translations underscore the rich contributions of the Reizei family and their many disciples to the Japanese poetic tradition.

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How to Read a Japanese Poem offers a comprehensive approach to making sense of traditional Japanese poetry of all genres and periods. Steven D. Carter explains to Anglophone students the methods of composition and literary interpretation used by Japanese poets, scholars, and critics from ancient times to the present, and adds commentary that will assist the modern reader.How to Read a Japanese Poem presents readings of poems by major figures such as Saigyō and Bashō as well as lesser known poets, with nearly two hundred examples that encompass all genres of Japanese poetry. The book gives attention to well-known forms such as haikai or haiku, as well as ancient songs, comic poems, and linked verse. Each chapter provides examples of a genre in chronological order, followed by notes about authorship and other contextual details, including the time of composition, physical setting, and social occasion. The commentaries focus on a central feature of Japanese poetic discourse: that poems are often occasional, written in specific situations, and are best read in light of their milieu. Carter elucidates key concepts useful in examining Japanese poetics as well as the technical vocabulary of Japanese poetic discourse, familiarizing students with critical terms and concepts. An appendix offers succinct definitions of technical terms and essays on aesthetic ideals and devices.

Read more less

While the rise of the charmingly simple, brilliantly evocative haiku is often associated with the seventeenth-century Japanese poet Matsuo Basho, the form had already flourished for more than four hundred years before Basho even began to write. These early poems, known as hokku, are identical to haiku in syllable count and structure but function differently as a genre. Whereas each haiku is its own constellation of image and meaning, a hokku opens a series of linked, collaborative stanzas in a sequence called renga. Under the mastery of Basho, hokku first gained its modern independence. His talents contributed to the evolution of the style into the haiku beloved by so many poets around the world--Richard Wright, Jack Kerouac, and Billy Collins being notable devotees. Haiku Before Haiku presents 320 hokku composed between the thirteenth and early eighteenth centuries, from the poems of the courtier Nijo Yoshimoto to those of the genre's first "professional" master, Sogi, and his disciples. It features 20 masterpieces by Basho himself. Steven D. Carter introduces the history of haiku and its aesthetics, classifying these poems according to style and context. His rich commentary and notes on composition and setting illuminate each work, and he provides brief biographies of the poets, the original Japanese text in romanized form, and earlier, classical poems to which some of the hokku allude.

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This anthology brings togethere in convenient form a rich selection of Japanese poetry in traditional genres dating back from the earliest times to the twentieth century. With more than 1,100 poems, it is the most varied and comprehensive selection of traditional Japanese poetry now available in English. Ezra Pound called poetry "the most concentrated form of verbal expression," and the great poets of Japan wrote poems as charged and compressed as poems can be. The Japanese language, with its few consonates and even fewer vowels, did not lend itself to expansive forms, making small seem better and perhaps more powerful. There is also the historical context in which Japanese poetry developed—the highly refined society of the early courts of Nara and Kyoto. In this setting, poetry came to be used as much for communication between lovers and friends as for artistic expression, and a tradition of cryptic statement evolved, with notes passed from sleeve to sleeve or conundrums exchanged furtively in the night. Add to this the high sense of decorum that dominated court society for centuries, and you have the conditions that led to the development of the classical uta (also referred to as tanka or waka), the thrity-one-syllable form that acts as the foundation for virtually all poetry written in Japanese between 850 and 1900. In choosing poems, the compiler has given priority to authors and works gnerally acknowledged as of great artistic and/or historical importance by Japanese scholars. For this reason, major poets such as Kakinomoto no Hitomaro, Izumi Shikibu, Saigyo, and Matsuo Basho are particualarly important collections such as Man'yoshu, Kokinshu, and Shin kokinshu. In addtion, the volume also contains samplings from genres such as the poetic diary, linked verse, Chinese forms, and comic verse.

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A court lady of the Heian era, an early modern philologist, a novelist of the Meiji period, and a physicist at Tokyo University. What do they have in common, besides being Japanese? They all wrote zuihitsu-a uniquely Japanese literary genre encompassing features of the nonfiction or personal essay and miscellaneous musings. For sheer range of subject matter and breadth of perspective, the zuihitsu is unrivaled in the Japanese literary tradition, which may explain why few examples have been translated into English. The Columbia Anthology of Japanese Essays presents a representative selection of more than one hundred zuihitsu from a range of historical periods written by close to fifty authors-from well-known figures, such as Matsuo Basho, Natsume Soseki, and Koda Aya, to such writers as Tachibana Nankei and Dekune Tatsuro, whose works appear here for the first time in English. Writers speak on the experience of coming down with a cold, the aesthetics of tea, the physiology and psychology of laughter, the demands of old age, standards of morality, the way to raise children, the Great Kanto Earthquake of 1923, the thoughts that accompany sleeplessness, the anxiety of undergoing surgery, and the unexpected benefits of training a myna bird to say "Thank you." These essays also provide moving descriptions of snowy landscapes, foggy London, the famous cherry blossoms of Ueno Park, and the appeal of rainy vistas, and relate the joys and troubles of everyone from desperate samurai to filial children to ailing cats.

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The medieval Buddhist poet-monk Tonna (1289-1372) was regarded as the leading poet of his day and a prominent scholar and critic. Despite his commoner status, he was assigned the task of acting as compiler for an imperial anthology of poetry and counted a number of prominent courtiers among his students and patrons. And yet his works, which remained required reading for virtually all serious poets in Japan for five hundred years after his death, have until recently received little scholarly attention in either Japan or the West. This anthology contains translations of 134 of Tonna's uta (the classical poetic form) and 16 linked verse couplets (renga) from his Grass Hut Collection and selections from a work of prose criticism, From a Frog at the Bottom of a Well, along with an introduction and explanatory notes, a glossary of important names and places, and a list of sources for the poems.

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-- The Japan Times

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