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 circulate introduced the main striking achievements within the poetry style. via their fragmented mode by means of semantic scrambling, the modernist poems search to include an indestructible cohesion of language and artwork. for you to elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering Word applies C. S. Peirce’s semiotic idea to the significant 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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Additional resources for A flowering word : the modernist expression in Stephane Mallarme, T.S. Eliot, and Yosano Akiko
The reader will also find the frequent appearance of terms showing the network of human relations around the speaker: elder and younger sisters, mother, parents, and teacher. In a secret incantation for an explosive enlargement of the oppressive world, the poet-speaker foregrounds a small box corresponding to the Tanka’s 31 syllables; into the box she puts a couple of iconic dolls for the Girls’ Festival in Japan on March 3: Laying The dolls of Emperor and Empress In the box and closing the lid, Oh my strange sigh!
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. 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 final goal of the lifelong commitment corresponds to the loss of sight as death, the result of the deconstruction by the powering light;18 death equals the returning to the motherly body of reproduction as a wall of this present world. Shutting the eyes, the dead go beyond the taboo of incest, seeking for the realization of union and rebirth. Death represents seminal impetus, as well as erotic culmination. The myth of the incestuous reproduction, as is represented by Yosano Akiko’s allegorical-symbolical overdetermined collection, links to the author/reader’s recognition of Japanese homogeneity, while at the same time serving as the universal salvation for the limited modernist self: Stay, sweet spring: Wisteria at night, Rows of maidens In a ballroom— How swift is time!