The aim of the current study is to discuss the value of poetry writing in an L2 （second language） by investigating perceptions, attitudes, and emotions of 20 EFL （English as a Foreign Language） college freshmen re...The aim of the current study is to discuss the value of poetry writing in an L2 （second language） by investigating perceptions, attitudes, and emotions of 20 EFL （English as a Foreign Language） college freshmen regarding writing Japanese poetry, haiku in English. This paper first discussed issues and uses of literature in L2 contexts and addressed the current empirical inquiry into L2 haiku writing as a method for L2 learning. The study was designed as a qualitative research which investigated the participants＇ reflection on writing L2 haikus for six weeks in an EFL college writing course. The data obtained was analyzed by using the coding system and showed that writing haiku in the target language was a challenging but valuable task for L2 learning among the EFL students. Especially haiku composition allowed them to develop their L2 linguistic awareness展开更多
When late Qing and early Republican-period Chinese reformers grappled with the challenges of creating a new poetic language and form in the early decades of the twentieth century, Zhou Zuoren （1885-1967）, one of mod...When late Qing and early Republican-period Chinese reformers grappled with the challenges of creating a new poetic language and form in the early decades of the twentieth century, Zhou Zuoren （1885-1967）, one of modern China＇s most influential intellectuals, believed that much could be learned from the experiments of modern Japanese poets who had overcome similar challenges in the decades following the Meiji restoration. Of all the verse forms Japanese poets were experimenting with, Zhou was particularly interested in modern haiku and tanka. Zhou felt that the modern haiku and tanka＇s rootedness in tradition on the one hand and their ability to express modern sensibilities on the other could offer a model for Chinese poets seeking to create a poetic voice that was at once modern, but also anchored in traditional poetics. This article will analyze some of Zhou＇s translations of modern haiku and tanka and illustrate how these translations led him to promote a new poetic form in China, typically referred to as ＂short verse＂ （xiaosh0. By further reading Zhou＇s critical essays on modern Japanese poetry against the writings of a number of Western modernist poets and translators who themselves were inspired by East Asian verse forms--Ezra Pound in particular--I will comment on the degree to which Zhou＇s promotion of short verse inspired by modern Japanese haiku and tanka challenges a perceived Western role in legitimizing East Asian forms as conducive to modernism.展开更多
文摘The aim of the current study is to discuss the value of poetry writing in an L2 （second language） by investigating perceptions, attitudes, and emotions of 20 EFL （English as a Foreign Language） college freshmen regarding writing Japanese poetry, haiku in English. This paper first discussed issues and uses of literature in L2 contexts and addressed the current empirical inquiry into L2 haiku writing as a method for L2 learning. The study was designed as a qualitative research which investigated the participants＇ reflection on writing L2 haikus for six weeks in an EFL college writing course. The data obtained was analyzed by using the coding system and showed that writing haiku in the target language was a challenging but valuable task for L2 learning among the EFL students. Especially haiku composition allowed them to develop their L2 linguistic awareness
文摘When late Qing and early Republican-period Chinese reformers grappled with the challenges of creating a new poetic language and form in the early decades of the twentieth century, Zhou Zuoren （1885-1967）, one of modern China＇s most influential intellectuals, believed that much could be learned from the experiments of modern Japanese poets who had overcome similar challenges in the decades following the Meiji restoration. Of all the verse forms Japanese poets were experimenting with, Zhou was particularly interested in modern haiku and tanka. Zhou felt that the modern haiku and tanka＇s rootedness in tradition on the one hand and their ability to express modern sensibilities on the other could offer a model for Chinese poets seeking to create a poetic voice that was at once modern, but also anchored in traditional poetics. This article will analyze some of Zhou＇s translations of modern haiku and tanka and illustrate how these translations led him to promote a new poetic form in China, typically referred to as ＂short verse＂ （xiaosh0. By further reading Zhou＇s critical essays on modern Japanese poetry against the writings of a number of Western modernist poets and translators who themselves were inspired by East Asian verse forms--Ezra Pound in particular--I will comment on the degree to which Zhou＇s promotion of short verse inspired by modern Japanese haiku and tanka challenges a perceived Western role in legitimizing East Asian forms as conducive to modernism.
