O construto de (Re) apresentação da estética literária dos Haikuístas do Yuba Kukai
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Data
2023-02-10
Autores
Souza, Michela Mitiko Kato Meneses de
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Universidade Estadual Paulista (Unesp)
Resumo
Esse doutorado decorre de minha pesquisa do mestrado que descreveu a prática de uma produção literária no interior de uma comunidade nipo-brasileira situada no noroeste paulista. Tal trabalho teve como objetivos principais apresentar e descrever, a partir da observação in loco, a manifestação literária do haiku entre os anos de 2010 e 2012, focalizando os processos de criação, de socialização e de publicação do Coletivo Yuba kukai – escritos em língua japonesa –, e iniciar a organização do acervo literário do poético haiku da Comunidade Yuba. Da coleta realizada utilizarei agora 15 haiku traduzidos e publicados na Revista Kuzu e um premiado no Japão em 2010 no concurso da NHK Zenkoku Haiku Taikai do senhor Eizo Niizu. Como justificava para essa proposta de tese alego a necessária continuidade dos estudos de um objeto apresentado inicialmente durante o mestrado, que já conta com o aval dos haikuístas Yuba. Proponho responder os seguintes questionamentos: 1) Em que medida estes lavradores-artistas nipo-brasileiros “podem falar”? 2) Quais são as implicações desse “poder”? Para tanto serão adotadas as abordagens teóricas e críticas de Spivak (2010) acerca da Subalternidade; Quijano (2005), Mignolo (2007), Grosfoguel (2008) e Ballestrin (2013) sobre os Estudos Decoloniais; Nunes (1995) e Bhabha (1998) relacionados ao Tempo; Santos (2014) tratará do Espaço; Stuart Hall (2003) da Diáspora; Maringolo (2014), Evaristo (1990, 2009, 2017, 2019, 2020, 2021) da Memória; Alexandre (2004) e Pacheco (2005) da Representação e Cunha; Schmitt-Prym (2021) e Edson Iura (2021) do haiku/haikai/haicai, posto que melhor se adequam aos sujeitos supracitados advindos do Japão e nascidos no Brasil como representantes de uma diáspora, que origina a partir de 1926 nos meados do século XX. Nesse sentido, o estudo tem como objetivo arquitetar o construto de (re)apresentação da estética poética dos haikuístas do Coletivo Yuba kukai. Para a realização do estudo utilizaremos metodologicamente das Pesquisas Bibliográficas e Etnográficas, o método quantitativo-qualitativo e a abordagem teórica crítica dos estudos subalternos e decoloniais. Os resultados alcançados nos permitirão apresentar as vozes dos haikuístas da Yama diante da tradição japonesa de produção do haiku em um país da América Latina, o Brasil.
This doctorate accrues from my master research that described the practice of a literary production within a Japanese-Brazilian community located in the northwest of São Paulo. This work had as main objectives to present and describe, from the observation in loco, the literary manifestation of the haiku between the years of 2010 and 2012, focusing on the processes of creation, socialization and publication of the Yuba kukai Collective – written in Japanese language –, and to start the organization of the literary collection of the poetic haiku of the Yuba Community. From the collection carried out, I will now use 15 haiku translated and published in the Kuzu Magazine and one awarded in Japan in 2010 in the NHK Zenkoku Haiku Taikai contest by Mr. EizoNiizu. As I justified this thesis proposal, I claim the necessary continuity of studies of an object initially presented during the master degree, which already has the endorsement of the haikuists Yuba. I propose to answer the following questions: 1) How do these Japanese-Brazilian artist-farmers “can speak”? 2) What are the implications of this “power”? Therefore, the theoretical and critical approaches of Arendt (2004) and Spivak (2010) about Subalternity will be adopted; Quijano (2005), Mignolo (2007), Grosfoguel (2008) and Ballestrin (2013) on Decolonial Studies; Nunes (1989) and Bhabha (1998) related to Time; Santos (2014) will deal with Space; Stuart Hall (2003) from Diaspora , Maringolo (2014) and Evaristo (1990, 2009, 2017, 2019, 2020, 2021) from Memory; Alexandre (2004) , Pacheco (2005) from Representation and Cunha; Schmitt-Prym (2021) e Edson Iura (2021) from haiku/haikai/haicai, since they best suit the aforementioned subjects from Japan and born in Brazil as representatives of a Diaspora, which originates from 1926 in the middle of the 20th century. In that regard, the study aims to architect the construct of (re)presentation of the poetic aesthetics of the haikuists of the Yuba kukai Collective. To carry out the study we will methodologically use Bibliographic and Ethnographic Research, the quantitative-qualitative method and the critical theoretical approach of subaltern and decolonial studies. The results achieved will allow us to present the voices of Yama's haikuists in the face of the Japanese tradition of haiku production in a Latin American country, Brazil.
This doctorate accrues from my master research that described the practice of a literary production within a Japanese-Brazilian community located in the northwest of São Paulo. This work had as main objectives to present and describe, from the observation in loco, the literary manifestation of the haiku between the years of 2010 and 2012, focusing on the processes of creation, socialization and publication of the Yuba kukai Collective – written in Japanese language –, and to start the organization of the literary collection of the poetic haiku of the Yuba Community. From the collection carried out, I will now use 15 haiku translated and published in the Kuzu Magazine and one awarded in Japan in 2010 in the NHK Zenkoku Haiku Taikai contest by Mr. EizoNiizu. As I justified this thesis proposal, I claim the necessary continuity of studies of an object initially presented during the master degree, which already has the endorsement of the haikuists Yuba. I propose to answer the following questions: 1) How do these Japanese-Brazilian artist-farmers “can speak”? 2) What are the implications of this “power”? Therefore, the theoretical and critical approaches of Arendt (2004) and Spivak (2010) about Subalternity will be adopted; Quijano (2005), Mignolo (2007), Grosfoguel (2008) and Ballestrin (2013) on Decolonial Studies; Nunes (1989) and Bhabha (1998) related to Time; Santos (2014) will deal with Space; Stuart Hall (2003) from Diaspora , Maringolo (2014) and Evaristo (1990, 2009, 2017, 2019, 2020, 2021) from Memory; Alexandre (2004) , Pacheco (2005) from Representation and Cunha; Schmitt-Prym (2021) e Edson Iura (2021) from haiku/haikai/haicai, since they best suit the aforementioned subjects from Japan and born in Brazil as representatives of a Diaspora, which originates from 1926 in the middle of the 20th century. In that regard, the study aims to architect the construct of (re)presentation of the poetic aesthetics of the haikuists of the Yuba kukai Collective. To carry out the study we will methodologically use Bibliographic and Ethnographic Research, the quantitative-qualitative method and the critical theoretical approach of subaltern and decolonial studies. The results achieved will allow us to present the voices of Yama's haikuists in the face of the Japanese tradition of haiku production in a Latin American country, Brazil.
Descrição
Palavras-chave
Haiku, Coletivo Yuba kukai, Tempo-Espaço-Memória, Subalternidade, Decolonialidade, Yuba kukai collective, Time-Space-Memory, Subalternity, Decoloniality