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Hey guys, being that Tanka Awareness Month is over and the official Haiku-Wrimo does not begin until July, I have decided to take a moment and discuss the poetic style known as Found poetry. In this three part series, I will be discussing the definition of found poetry, advice for approaching the style, and my ideas on how the concept of found poetry is instrumental in understanding juxtaposition and other poetic devices. For me, the final topic is of great importance because it is beneficial in understanding the shifts that occur in many of the Japanese short forms.
Although most of you know me for my work in the Japanese poetic forms, the concept of found poetry is one that has influenced not only my thoughts concerning creativity in stanza structure, but also my outlook on the nature of language in general.
Found poetry is the rearrangement of words, phrases, and even whole passages that are taken from other sources and reframed as poetry. This transformation into a poetic structure is accomplished by applying changes to spacing, lines, or by alterations to the text (by adding or deleting words).
There are two distinct styles of found poetry. "Treated" poems occur when the text of a literary work has been changed dramatically. Treated poems are usually the result of taking bits and pieces from distinct literary works or by differing articles within the same body of work. "Untreated" poems are much more conservative and usually preserve the structure and meaning of the original work. Of the two, "treated" poems are usually more prominent and in my opinion are most useful for allowing students to reconstruct language and the meanings behind various words.
Many theorists attribute the origin of found poetry to French Uruguayan poet "Isidore Lucien Ducasse." Ducasse, who was said to be a surrealist, experimented with found poetry in his extensive work "Poésies." Although he would pass away at the young age of 24, the work of Ducasse ensured that the ideas of found poetry would be further explored.
For me, the benefits of studying found poetry can be seen in the manner in which a particular piece is constructed. Found poetry not only causes me to explore the boundaries of artistic freedom in my work, but also the manner in which lines and phrases can be "transmuted" into entirely different meanings. I have posted three found poems on DA so far They can be seen here.
Midnight-laurence55.deviantart.com/art/…
Daybreak-laurence55.deviantart.com/art/…
The War of Evolution-laurence55.deviantart.com/art/…
That is all for now. In my next journal, I will be exploring the manner in which a found poem is constructed. I will also delve deeper into the differences between "treated" and "untreated" found poems. In addition to my journals, I will be posting three new found poems. Stay tuned! As always, please note me with questions, comments, or rants
Although most of you know me for my work in the Japanese poetic forms, the concept of found poetry is one that has influenced not only my thoughts concerning creativity in stanza structure, but also my outlook on the nature of language in general.
Found poetry is the rearrangement of words, phrases, and even whole passages that are taken from other sources and reframed as poetry. This transformation into a poetic structure is accomplished by applying changes to spacing, lines, or by alterations to the text (by adding or deleting words).
There are two distinct styles of found poetry. "Treated" poems occur when the text of a literary work has been changed dramatically. Treated poems are usually the result of taking bits and pieces from distinct literary works or by differing articles within the same body of work. "Untreated" poems are much more conservative and usually preserve the structure and meaning of the original work. Of the two, "treated" poems are usually more prominent and in my opinion are most useful for allowing students to reconstruct language and the meanings behind various words.
Many theorists attribute the origin of found poetry to French Uruguayan poet "Isidore Lucien Ducasse." Ducasse, who was said to be a surrealist, experimented with found poetry in his extensive work "Poésies." Although he would pass away at the young age of 24, the work of Ducasse ensured that the ideas of found poetry would be further explored.
For me, the benefits of studying found poetry can be seen in the manner in which a particular piece is constructed. Found poetry not only causes me to explore the boundaries of artistic freedom in my work, but also the manner in which lines and phrases can be "transmuted" into entirely different meanings. I have posted three found poems on DA so far They can be seen here.
Midnight-laurence55.deviantart.com/art/…
Daybreak-laurence55.deviantart.com/art/…
The War of Evolution-laurence55.deviantart.com/art/…
That is all for now. In my next journal, I will be exploring the manner in which a found poem is constructed. I will also delve deeper into the differences between "treated" and "untreated" found poems. In addition to my journals, I will be posting three new found poems. Stay tuned! As always, please note me with questions, comments, or rants
Final Discussion: Karumi
In my previous journal, I discussed the concept of yūgen and its application in haiku poetry. I briefly examined the history of yugen and included several examples of the concept. :heart:
In my fifth and final journal of this series, I will be discussing the aesthetic principle known as Karumi. I will examine the origins of karumi, and discuss its importance in understanding haiku.
Developed by Matsuo Bashô during his final travels in 1693 (Hass 7), karumi is perhaps one of the most important and least understood principles of haiku poetry. Karumi can best be described as lightness, or a sensation of sponta
Poetry Discussion 4: Yugen
In my previous journal, I discussed spark images and their usage in haiku poetry. I examined the importance of spark images in creating multiplicities and included several examples of the technique. :heart:
In this journal, I will be discussing the aesthetic concept known as Yūgen. I will examine the origins of yugen, and discuss its importance in creating multiplicities within haiku. In addition, I will examine techniques which are used to incorporate yugen into the art. As I mentioned in the first journal of this series, what I am seeking to focus on are techniques used to create what is known as touchingness i
July Haiku-Thon!!
I am pleased to announce that the annual Haiku-thon will begin taking place on July 1st. Hosted by Iscariot-Priest (https://www.deviantart.com/iscariot-priest), this event involves haijin writing one haiku for each day of the month. For beginning haijin, this is a chance to experience the art and meet other poets who share an interest in haiku and its related styles. For experienced haijin, this is a time for us to contemplate the art, discuss techniques, and refine the subtle elements of our craft. Most importantly, it is a time for us to encourage and teach new haijin by example. :heart:
I am proud to say that the haiku (and its related styles) community has grown tremendously s
Poetry Discussion: Haiku Theory by Dick Whyte
In my previous journal, I discussed the haiku technique known as the spark image. I examined its importance in creating multiplicities within haiku and included an example of the concept. :heart:
Before continuing with this series, I would like to introduce an essay entitled A Lot of Words About a Little Poem. Written by haijin Dick Whyte SOLARTS (https://www.deviantart.com/solarts), this essay is in my opinion one of the most comprehensive works written about the techniques used in haikai. By examining the philosophies behind these techniques, Dick has illustrated the manner in which haikai relates to universal concepts. As someone who has the hono
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So I suppose that one must be careful where they take their inspiration, right? National Geographic is pretty safe, but drawing phrases from a poetry anthology and "reconstructing" them into your own poem is risky, and possibly wrong!