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By Noriko Takeda

In its overseas and cross-cultural evolution, the modernist stream introduced the main impressive achievements within the poetry style. via their fragmented mode by way of semantic scrambling, the modernist poems search to embrace an indestructible harmony of language and paintings. that allows you to elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering note applies C. S. Peirce’s semiotic concept to the vital works of 3 modern writers: Stéphane Mallarmé’s past due sonnets, T. S. Eliot’s 4 Quartets, and the japanese prefeminist poet, Yosano Akiko’s Tangled Hair.

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Additional resources for A Flowering Word: The Modernist Expression in Stéphane Mallarmé, T. S. Eliot, and Yosano Akiko (Currents in Comparative Romance Languages and Literatures, Volume 67)

Sample text

12 Her self remains open to become a collective self. Furthermore, in addition to “I” mingling with “we,” the whirling universal life force is identified with God by the general title, according to the Buddhist and Shintoist legacy of the ontological thought. ” In the original Japanese title “Midare(-)gami,” the assimilation of the first consonant [k] to [g] is operative, thus suggesting the potential of transformational energy. In the “tangled” cosmos, the occasional pieces serve as narrative connectives that assimilate syntagm with paradigm, or time with space.

A child of anguish. (K, 20) Representing itself as an aporia in Tekkan’s manifesto, the word “self” may be viewed as designating the avant-gardist point of the national force to grow over the ocean that ended in a suite of wars: those with China (1894–95), and Russia (1904–05), or World War II. ” From another angle, the foregrounded word reflects the collective anxiety that persisted in the “constructive Meiji” era (Hinatsu, Meiji Taishoshishi 348) threatened by the aggression of difference (the sweeping societal change) and otherness (the international advancement).

Still veiled in a figurative rendering with echoes of a connotation, the image of the sea—an archetype of motherly existence—renders the snare laid by the speaker more attractive; it is natural that the “lonely” man should refuse the forbidden communion with the superlative female body. 13 Her youthful body is to be protected from the aggressive gaze of an impatient god/partner facing her with an invincible patriarchal superiority that may be viewed as her unconscious desire. She is frustrated by conventional prohibition, in addition to her own slow growth: In my bath— Submerged like some graceful lily The Japanese Reformation of Poetic Language 35  At the bottom of a spring, How beautiful This body of twenty summers.

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