By Noriko Takeda
In its foreign and cross-cultural evolution, the modernist move introduced the main striking 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. so one can elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering notice applies C. S. Peirce’s semiotic concept 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.
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Extra info 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)
The identification of the connecting cosmic body with the speakercreator is also suggested in the title. With the moving of the sun, the universe changes time and color; the combination of red, black, and blue in “Enji-Murasaki” indicates the working of the sun whose light pierces the canopy of the sky. The speaker’s pride, raised to its apogee, 34 The Japanese Reformation of Poetic Language even usurps the cosmic throne as the center of the universe, which represents the emancipated culmination of her limited self, rather than its disappearance into the anonymous absence of cosmic darkness.
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.
10 The crowning title that perhaps came from the editor Tekkan sums up the main theme of Myo- jo- School poetry, kaleidoscopically mingling shadow with light; the initial sign stands for the poetic high relief of the individual author’s alienated self to be culminating with its own dispersal into the motherly universe for glorified rebirth. Creation by the Feminine Voice Yosano Akiko’s collected Tanka poems entitled Midaregami (Tangled Hair) was published in Tokyo in August 1901. 11 The wavy crown is shot through by Cupid’s arrow, thereby manifesting the feminine pride in the author-speaker’s privileged talent for creation.
A Flowering Word: The Modernist Expression in Stéphane Mallarmé, T. S. Eliot, and Yosano Akiko (Currents in Comparative Romance Languages and Literatures, Volume 67) by Noriko Takeda