The memory of traditional japanese haiku and contemporary critics and aesthetics

Abstract

The article investigates how demands for plurality, simultaneity and nonlinearity, typical of contemporary aesthetic, may inhabit in haiku forms and, paradoxically, how haiku, with its peculiar characteristics of composition, rivals such demands of today’s world for the arts. The study illustrates the critical analysis about the haiku literary form by Roland Barthes, Alberto Marsicano, Rodolfo Wilzig Guttilla, Paulo Franchetti, Elza Taeko Doi and Regina Weinreich. Correlations and oppositions between the Japanese classics, such as
Basho, Buson, Issa and Shiki, and the more contemporary practitioners of this art, as Waldomiro Siqueira Júnior (on the national scene) or Jack Kerouac (in the international scene) are sought.