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A Flowering Word: The Modernist Expression in Stéphane - download pdf or read online

By Noriko Takeda

In its foreign 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 include an indestructible solidarity of language and paintings. for you to elucidate the importance of that «essential» shape in capitalistic instances, A Flowering observe applies C. S. Peirce’s semiotic thought to the central 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 resources 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)

Example text

Yosano Akiko’s poetic universe is brought by a productive feminine voice that synthesizes the cosmic diversification in an iterative dualistic conflict: the speaker and her lover, her divided self, purity and maturity, day and night, time and space, reality and heaven. Six chapters are separated into two groups according to the degree of abstractness: the first and last focus on a description of the imaginary cosmos; the remaining four evoke the purported real world. The counterpart of the immensity of the cosmos that is symbolized by the overall blackness of “night” (“yo(ru)”)—the first word of the opening piece before the coming of “daytime”—represents the speaker’s white female body repeatedly elevated in her collection.

From the very beginning, the reader is compelled to read the work, not only following the syntagmatic line with a finale at the 31st syllable, but also managing to grasp the entire volume as one synthesized complex whose elements are closely connected beyond the boundary of each one-line Tanka, a breath of catharsis connecting death to life. In the second piece, the negative word “sins” adds expansion to the world, referring to Genesis and immemorial lapse of time. Furthermore, the accusing label arouses the reader’s sympathy with the ironically modest speaker-creator.

Six chapters are separated into two groups according to the degree of abstractness: the first and last focus on a description of the imaginary cosmos; the remaining four evoke the purported real world. The counterpart of the immensity of the cosmos that is symbolized by the overall blackness of “night” (“yo(ru)”)—the first word of the opening piece before the coming of “daytime”—represents the speaker’s white female body repeatedly elevated in her collection. From her body, which is the source of the creative voice, long black hair comes forth and expands like the darkness filling the cosmic space.

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