tanka

First is The anthology of national poetry [phrase omitted], a March 1942 special edition, and this is the first poetry work by the National Poetry Federation for the purpose of offering "thanks" and "condolences" to the "dear soldiers of the army and navy, shining under their bright achievements." The second is The whole interpret of one hundred patriotic Tankas by one hundred poets [phrase omitted] by Akira Sueda, published in March 1943.

It was found that "traditional Japanese poetry forms such as Haiku [phrase omitted], Tanka [phrase omitted] and Senryu [phrase omitted] were mainstream flows in literature" (Inkyung Um 273).

The current paper evaluates the trends of Tanka poetry in the Japanese colonial era within the Japanese literature by Japanese residents in Joseon and attempts to identify the route by which the Joseon literary circles reached the canon of national literature.

In this social and cultural atmosphere, specialized magazines in the diverse fields of traditional Japanese-language poetry such as Tanka, Haiku, and Senryu were founded, and numerous works were created and enjoyed a welcoming reception.

Santa Fe, New Mexico, where I live, has a noticeable Tibetan refugee community, so it was easy to come into contact with a lot of tankas. Because I felt most drawn to it, I bought a tanka of White Tara, a goddess of compassion and long life.

The poem "White Tara" was sparked first by a deep desire to render the strange and vivid visual environment I encountered in tankas, including the one I bought.

I'd been drawn to Tibetan Buddhist art for some time before my parents died, but I did not acquire my first tanka until after my mother passed away.

For "White Tara" this meant trying to work with the fact that, after my mother died, I bought the tanka in a store--that it was a consumer item as much as talismanic.