By Noriko Takeda
In its foreign and cross-cultural evolution, the modernist flow introduced the main impressive achievements within the poetry style. via their fragmented mode through semantic scrambling, the modernist poems search to include an indestructible harmony of language and paintings. which will elucidate the importance of that «essential» shape in capitalistic instances, A Flowering notice applies C. S. Peirce’s semiotic thought to the important works of 3 modern writers: Stéphane Mallarmé’s overdue sonnets, T. S. Eliot’s 4 Quartets, and the japanese prefeminist poet, Yosano Akiko’s Tangled Hair.
Read or Download A Flowering Word: The Modernist Expression in Stéphane Mallarmé, T. S. Eliot, and Yosano Akiko (Currents in Comparative Romance Languages and Literatures, Volume 67) PDF
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Extra 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)
Enji” (crimson or deep red) is produced from the combination of red and black, “Murasaki” (purple) from red and blue. The mating is overdetermined for the incantation of fertile creation. The first section’s title is conceived from the names of the ideal lovers, Genji and Murasaki, like their cherished mutual affection in the renowned court story, The Tale of Genji of Murasaki Shikibu in the early eleventh century. The representative couple is closely tied by the flaming celestial passion like the burning sun, symbolized by the color red.
Yosano Akiko’s sun glares, grotesquely distorting every figure. Her dazzling voice creates an artful cosmos rather than revealing the pre-established order of the mimetic world. , 44 The Japanese Reformation of Poetic Language the loss of him or herself. The connecting lines of light in a fragrant efflorescence of various flowers stir the reader’s desire to retrieve the nostalgic oneness with the motherly existence in a divine rank as a source of life. The erotic voice from the speaker’s white body accelerates the communion between the diversified objects at the extremity of lines in an enhancing aestheticized imagery, even though the attempt of the retrieval represents a metonymic displacement.
Like a “peony” in the sunshine, a word blooms with force; it appropriates wholeness by thrusting self into other and thus breaking the universe. Though every word in the collection is equally given privileged sta” (“I”), the subject of “love” as tus, a representative sign may be “ the driving force of Yosano Akiko’s poetic cosmos. The full-grown impressive ideogram for “love,” , is transcendentally unseen, thereby allowing equality among the words in this entire work for everyone. As a mother-to-be (she ultimately bore 12 children), Yosano Akiko brought completeness to poetry through the appropriation of a word as self-universe.