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 move introduced the main outstanding achievements within the poetry style. via their fragmented mode by way of semantic scrambling, the modernist poems search to include an indestructible cohesion of language and paintings. so one can elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering Word applies C. S. Peirce’s semiotic idea to the relevant works of 3 modern writers: Stéphane Mallarmé’s past due 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 initial title, “Tangled Hair,” enforces the head section for the dialogic collection consisting of the metaphorical-metonymical Japanese short poems. Using a dividing but interactive syllabic formality, Yosano Akiko and her co-operator Tekkan made a symbolically synthesized volume fusing allegorical independency and self-assertion. , the appropriation of the sublime on earth through language. Her method represents the cultivation of the hardest area hindering the completion of her love and creation: the human reality that seldom follows the romantic imagination permitting everything to happen, despite its fullest potential with the incessant new birth.
The reader is pushed to live the overall image itself in the work’s intoxicating brightness. The luminous image becomes an ode to the universe with the accumulated reflections among the mirroring sea of 399 Tanka pieces. Yosano Akiko’s forwarding voice may be qualified as the avantgardist summer thunderbolt: its overpowering sound is evaluated as a “youthful, strong echo” (Hinatsu, Meiji Taisho- shijin 144); Shinma Shinichi mentions its “sharpness” cutting through the traditional Waka’s ambiguous generality (98).
Language, this quasi-self. In the overall equa- The Japanese Reformation of Poetic Language 45 tion of language and life, by which shouting should be the most expressive rendering, the promoter Yosano Tekkan artificially strengthened the consciousness of his followers, which caused the explosion of that consciousness based on each bodily frame. The ethos also described the admonitory picture of the naked self, which was identified with the country itself, to be drowned in the oceanic battlefield.