Thư viện tri thức trực tuyến
Kho tài liệu với 50,000+ tài liệu học thuật
© 2023 Siêu thị PDF - Kho tài liệu học thuật hàng đầu Việt Nam
Ncur-Proceedings A35Bbc49-8Aa9-4420-8170-18D7624F1719.Pdf
Nội dung xem thử
Mô tả chi tiết
NCUR 2021 Proceedings
Momoko Kuroda: Pilgrimage Haiku and Decentering the Male Gaze
English & Literature - Time: Wed 12:00pm-1:00pm - Session Number: 923
Nicky Gutierrez and Dr. Liam O’Loughlin, Department of English, Capital University, E Main St &
College Ave, Bexley, OH 43209
Nicky Gutierrez
Momoko Kuroda is a well-respected contemporary Japanese female haiku poet. Of her hundreds of
haiku, a little of over one hundred have been translated to English. As such, very little has been written
about her in the English language. In her translated work I Wait for the Moon, Kuroda has a section
dedicated to haiku she wrote when she led her ginko pilgrimages on many traditional Japanese
pilgrimage routes. Kuroda participated in the pilgrim poet tradition and is one of many; however, the
majority of those pilgrim poets are men. Using feminist theory—specifically the concepts of the male
gaze/perspective, decentering from the male gaze/perspective, and the patriarchy—this paper will argue
how readers should view the text of pilgrimage haiku and the moments and landscape that inspired it.
This paper will also be using structuralism, specifically poetics and the system, to understand where
Kuroda fits in the tradition of pilgrim poets which has been traditionally defined by male pilgrim poets.
Combining these two theories will allow us to see how the male gaze/perspective systematically
influences how one views a haiku experience in the pilgrim poet tradition. By looking at her work in
English and bringing it to light, it helps break the idea of the “canon” of Japanese haiku that is typically
translated and seen in mainstream circles. This paper hopes to start a conversation on Momoko Kuroda
and how the male gaze/perspective is systematically in literary works.
Momoko Kuroda is a well-respected contemporary Japanese female haiku poet. Of her hundreds of
haiku, a little of over one hundred have been translated to English. As such, very little has been written
about her in the English language. In her translated work I Wait for the Moon, Kuroda has a section
dedicated to haiku she wrote when she led her ginko pilgrimages on many traditional Japanese
pilgrimage routes. Kuroda participated in the pilgrim poet tradition and is one of many; however, the
majority of those pilgrim poets are men. Using feminist theory—specifically the concepts of the male
gaze/perspective, decentering from the male gaze/perspective, and the patriarchy—this paper will argue
how readers should view the text of pilgrimage haiku and the moments and landscape that inspired it.
This paper will also be using structuralism, specifically poetics and the system, to understand where
Kuroda fits in the tradition of pilgrim poets which has been traditionally defined by male pilgrim poets.
Combining these two theories will allow us to see how the male gaze/perspective systematically
influences how one views a haiku experience in the pilgrim poet tradition. By looking at her work in
English and bringing it to light, it helps break the idea of the “canon” of Japanese haiku that is typically
translated and seen in mainstream circles. This paper hopes to start a conversation on Momoko Kuroda
and how the male gaze/perspective is systematically in literary works.
Bridging the Gap: Potential for Incorporating Music Therapy with Traditional Black