Download Cross-Cultural Visions in African American Literature: West by Y. Hakutani PDF

By Y. Hakutani
The main influential East-West creative, cultural, and literary alternate that has taken position in glossy and postmodern instances used to be the examining and writing of haiku. the following, esteemed individuals examine the influence of jap philosophy and faith on African American writers such as Richard Wright, Ralph Ellison, and Toni Morrison, delivering a clean box of literary inquiry.
Read or Download Cross-Cultural Visions in African American Literature: West Meets East PDF
Similar african books
Because the ebook of the 1st variation in 1977, Africa has proven itself as a number one source for educating, company, and scholarship. This fourth variation has been thoroughly revised and specializes in the dynamism and variety of latest Africa. the amount emphasizes modern culture–civil and social matters, paintings, faith, and the political scene–and offers an summary of vital topics that undergo on Africa's position on the planet.
Migration and Regional Integration in West Africa: A Borderless ECOWAS
This ebook explores the techniques of migration and integration in the West African sub-region and finds subsisting gives you and screw ups of the ECOWAS' purpose of transmuting the sub-region right into a unmarried socio-economic (and political) entity.
- Corruption and Governance in Africa: Swaziland, Kenya, Nigeria
- Neoliberal Frontiers: An Ethnography of Sovereignty in West Africa (Chicago Studies in Practices of Meaning)
- Autobiography and Independence: Self and Identity in North African Writing in French (Liverpool University Press - Contemporary French & Francophone Cultures)
- Handbook of African American Health: Social and Behavioral Interventions
Extra info for Cross-Cultural Visions in African American Literature: West Meets East
Sample text
40. The word sabi, a noun, derives from the verb sabiru, to rust, implying that what is described is aged. Sabi is traditionally associated with loneliness. Aesthetically, however, this mode of sensibility intimates of grace rather than splendor; it suggests quiet beauty as opposed to robust beauty. ” For further discussion of sabi and of other aesthetic principles, see Yoshinobu Hakutani, Richard Wright and Racial Discourse (Columbia, MO: U of Missouri P, 1996), 275–82. 41. The original of Kikaku’s haiku is in Henderson, Introduction to Haiku, 58.
Jacques-Alain Miller, trans. Sylvana Tomaselli (New York: Norton, 1988), 285. 46. , 302. 47. Pound, “Vorticism,” 463. 48. Yeats, letter to Mcleod, quoted in E. A. Sharpe, William Sharp: A Memoir (London: Heinemann, 1910), 280–81. 49. Lacan, Seminar, 176–77. 50. , 31. 51. , 308. 52. Ezra Pound, Ezra Pound: Selected Poems (New York: New Directions, 1957), 36. 53. Lacan, Seminar, 234. Works Cited Barthes, Roland. Empire of Signs. Trans. Richard Howard. New York: Hill and Wang, 1982. Blyth, R. H. Haiku: Eastern Culture.
49 In Lacanian terms, the haiku poet is motivated to depict the real directly without using symbols. In this process the poet relies on the imaginary, a domain that is closer to nature, where subjectivity is suppressed as much as possible. In an attempt to be objective and yet creative, the poets avoid symbols in writing haiku. “If the symbolic function functions,” Lacan laments, “we are inside it. ”50 That symbolism is an obstacle in writing haiku can be explained in terms of Lacan’s definition of the symbolic order.