By Eliot, Thomas Stearns; Mallarmé, Stéphane; Yosano, Akiko; Takeda, Noriko; Mallarmé, Mallarmé Stéphane; Eliot, Eliot Thomas Stearns.; Yosano, Akiko
In its overseas and cross-cultural evolution, the modernist stream introduced the main awesome 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. with a purpose to elucidate the importance of that «essential» shape in capitalistic instances, A Flowering Word applies C. S. Peirce’s semiotic concept to the crucial 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 resources for A flowering word : the modernist expression in Stephane Mallarme, T.S. Eliot, and Yosano Akiko
In the fused alternation with “Adashi-no” of fruitful potential, an appearance of ephemeral flower in transformation is evoked in the mind of the reader; there is a cliché, “ada-bana,” which signifies inutile (“ada”) flower (“b(/h)ana”). The major noun is glorified by the endless absorption of negativity and positivity. The Waka survived to flourish from its own extreme pressure, keeping the refined poetics of anonymity for ambivalent lyrical verse. The short poem shared prestige in Japanese poetry with works written in classical Chinese called “Kanshi,” aiming at intellectualism through verbalization.
Nevertheless, the shadow only involves the surface of the illuminating voice in the dominance of the “spring,” as well as the syllables of reflections. The existence of darkness is encouragingly temporary, as is attested by the general title immediately replaced by the first section’s coloring title. The light becomes totally embodied, assimilating the accumulated existential weight of the tangled hair. The first ideogram of the poet-author’s pen name, , which describes the sun three times for the sound of “aki,” represents crystal.
From another angle, her voice from through her lips, the vibrant gates in red, is completely absorbed by the words for incantation as a motherly grotto in the white pages. The interpretation, or interpretant, is, in fact, created by The Japanese Reformation of Poetic Language 47 the verbal signs, though the triggered image shares the fundamental constructive energy with the real-life author. In the superimposition of Yosano Akiko’s collection, which evokes the black sunshine, the endless alternation of illusion and reality are all the more confusing.