The Bashō code
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Masako K. Hiraga
Abstract
“Haiku shows us what we knew all the time, but did not know we knew; it shows us that we are poets in so far as we live at all.”R. H. Blyth in Haiku (1952)This paper looks at the rhetorical structure of the two haiku texts by Bashō, which display formal and semantic similarities. After giving a brief explanation of the texts, the detailed analysis presents: (i) how the global metaphor of SILENCE IS SOUND connects the two texts, and (ii) how this metaphor navigates diagrammatic interpretations in the revising process, grammatical structure, and phonology across the texts. In our analysis, we hope to illustrate that metaphor and diagram could be treated as an entwined process across multiple texts, and that this type of approach could provide a new interpretation and explication of the interrelated haiku in question.
Abstract
“Haiku shows us what we knew all the time, but did not know we knew; it shows us that we are poets in so far as we live at all.”R. H. Blyth in Haiku (1952)This paper looks at the rhetorical structure of the two haiku texts by Bashō, which display formal and semantic similarities. After giving a brief explanation of the texts, the detailed analysis presents: (i) how the global metaphor of SILENCE IS SOUND connects the two texts, and (ii) how this metaphor navigates diagrammatic interpretations in the revising process, grammatical structure, and phonology across the texts. In our analysis, we hope to illustrate that metaphor and diagram could be treated as an entwined process across multiple texts, and that this type of approach could provide a new interpretation and explication of the interrelated haiku in question.
Chapters in this book
- Prelim pages i
- Table of contents v
- List of contributors ix
- Introduction 1
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Part I. Iconicity and conceptualization
- Iconicity by blending 13
- The Bashō code 25
- Iconicity in gotoochi-kitii ‘localized Hello Kitty’ 43
- Grammar-internal mimicking and analogy 63
- To draw a bow 引 83
- Spatiotemporal aspects of iconicity 95
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Part II. Visual iconicity
- From diagrams to poetry 121
- The iconized letter 141
- The semantics of structure 159
- Visual iconicity in Latin poetry 173
- Shared and direct experiential iconicity in digital reading games 191
- Iconicity, intermediality, and interpersonal meanings in a Social Semiotic Space 211
- Model and icon 233
- Degrees of indetermination in intersemiotic translation 247
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Part III. Auditory iconicity
- Sound, image and fake realism 263
- Opera, oratorio, and iconic strategies 275
- On some iconic strategies in concept albums within the Italian singer-songwriter tradition 295
- Iconically expressible meanings in Proto-Indo-European roots and their reflexes in daughter branches 311
- The lexical iconicity hierarchy and its grammatical correlates 331
- Author index 351
- Subject index 355
Chapters in this book
- Prelim pages i
- Table of contents v
- List of contributors ix
- Introduction 1
-
Part I. Iconicity and conceptualization
- Iconicity by blending 13
- The Bashō code 25
- Iconicity in gotoochi-kitii ‘localized Hello Kitty’ 43
- Grammar-internal mimicking and analogy 63
- To draw a bow 引 83
- Spatiotemporal aspects of iconicity 95
-
Part II. Visual iconicity
- From diagrams to poetry 121
- The iconized letter 141
- The semantics of structure 159
- Visual iconicity in Latin poetry 173
- Shared and direct experiential iconicity in digital reading games 191
- Iconicity, intermediality, and interpersonal meanings in a Social Semiotic Space 211
- Model and icon 233
- Degrees of indetermination in intersemiotic translation 247
-
Part III. Auditory iconicity
- Sound, image and fake realism 263
- Opera, oratorio, and iconic strategies 275
- On some iconic strategies in concept albums within the Italian singer-songwriter tradition 295
- Iconically expressible meanings in Proto-Indo-European roots and their reflexes in daughter branches 311
- The lexical iconicity hierarchy and its grammatical correlates 331
- Author index 351
- Subject index 355
