Download A flowering word : the modernist expression in Stephane by Eliot, Thomas Stearns; Mallarmé, Stéphane; Yosano, Akiko; PDF

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 awesome achievements within the poetry style. via their fragmented mode by means of semantic scrambling, the modernist poems search to embrace an indestructible cohesion of language and artwork. with a view to elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering Word applies C. S. Peirce’s semiotic idea to the important 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

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In cooperation with a child of Meiji, Yosano Tekkan—indeed, just before her marriage with him—Akiko published a great collection, and then, before long, gave birth to a son. She revealed the potentiality of the origin of the poetic cosmos that had been hidden under the garments of elegance; she revived the physicality of 31 syllables as a productive female body. Weaving the modern self’s victory and destiny, Yosano Akiko’s avantgardist work decided the direction of Japanese modern poetry as “picturesque-ness,” a sanctification of the actualized material world, or everyday reality, superimposing visibility on audibility.

For the romantic poet, writing is supposed to equal himself. Tekkan inaugurated the Shinshi-sha (New Poetry Society) in November 1899, and began publishing the magazine Myo-jo- in April of the following year. The organ reveals its modernist ambition,9 collecting both the new Tanka pieces and the “modern-style” poetry, as well as Western paintings that feature the decorative Art Nouveau fashion to mark the rejuvenation of the century. As is indicated by the sixth tenet on the 1900 issue, Tekkan intended a Tanka piece as an authentically artistic, autonomous whole, by calling it “Tanshi” (Short Poem) in the fifteenth issue.

In the first piece of the second section, the speaker’s lover is changed from “God” to “priest,” showing that she regards him as an equal partner of a relative social rank. She blames him for coming back late, allured by the lotus flowers in red and white. ” In the fourth poem, the speaker expresses her resolution to live willfully on earth, just like flowers in the summer sunshine. The symbolic time is noon (“mahiru”), as is clearly shown by the Japanese original; the prefix “ma” in the temporal term means real and truth: In love And frail as the stem Of this summer flower— Yet will I bloom Deep red under a dazzling sun!

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