By Eliot, Thomas Stearns; Mallarmé, Stéphane; Yosano, Akiko; Takeda, Noriko; Mallarmé, Mallarmé Stéphane; Eliot, Eliot Thomas Stearns.; Yosano, Akiko
In its foreign and cross-cultural evolution, the modernist stream introduced the main outstanding achievements within the poetry style. via their fragmented mode via semantic scrambling, the modernist poems search to embrace an indestructible solidarity of language and paintings. as a way to elucidate the importance of that «essential» shape in capitalistic instances, A Flowering Word applies C. S. Peirce’s semiotic concept to the primary works of 3 modern writers: Stéphane Mallarmé’s overdue sonnets, T. S. Eliot’s Four Quartets, and the japanese prefeminist poet, Yosano Akiko’s Tangled Hair.
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Extra info for A flowering word : the modernist expression in Stephane Mallarme, T.S. Eliot, and Yosano Akiko
The volume “was an immediate sensation and sold an unprecedented number of copies for a book of poetry” (Keene 24). ” Cosmic images collide with each other, striking sparks in a limited body of 31 syllables. The prescribed space is endlessly enlarged by the powerful explosion that allows the speaker, with a resounding voice full of iridescent echoes, to praise love, the main theme of a work seeking for all, romantic and erotic, metaphysic and realistic, and individual and universal. The original Japanese of the first piece, in which the words for “the star” (“hoshi”) and “now” (“ima”) The Japanese Reformation of Poetic Language 31 are connected by the shortest tie of one syllable “of” (“no”), forcibly scrambles the dimensions of time and space in this collection; simultaneously, the speaker’s passionate voicing strongly reverberates bodily rhythm in real life.
7 The accumulation of his self-portraits in the following piece manifests his claim; the repetitive word, “child,” The Japanese Reformation of Poetic Language 29 embodies the limited self of constant differentiating action for the kaleidoscopic invasion of the whole world: I am a male child, A child of temper, a child of pride, A child of the sword, A child of poetry, a child of love, And ah! 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.
The dominance of positivity in the first poem, thus the entire collection, is foregrounded by the combination of the flashing “star” and newborn “present” (“hoshi no ima wo”) for the third part. Crystallized at the center of the poem with six syllables that break the Tanka convention, the forwardedness forcefully directs the entire collection dedicated to the privileged moment and voicing self as the minimized jewel of condensed light. The omnipotent point, which is made explosive by the clashing of the two words, embodies the cosmic work itself, seeking for a wholeness that includes time and space, syntagm and paradigm, present and past, and production and consumption.
A flowering word : the modernist expression in Stephane Mallarme, T.S. Eliot, and Yosano Akiko by Eliot, Thomas Stearns; Mallarmé, Stéphane; Yosano, Akiko; Takeda, Noriko; Mallarmé, Mallarmé Stéphane; Eliot, Eliot Thomas Stearns.; Yosano, Akiko