A Flowering Word: The Modernist Expression in Stéphane by Noriko Takeda

By Noriko Takeda

In its foreign and cross-cultural evolution, the modernist stream introduced the main remarkable achievements within the poetry style. via their fragmented mode via semantic scrambling, the modernist poems search to embrace an indestructible harmony of language and artwork. so one can elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering note applies C. S. Peirce’s semiotic idea to the relevant 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 info 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

Through the objectivization, she tries to emancipate herself totally in a concretizing differentiation in the brightness of daytime, while, simultaneously, creating a love epic for the participation of every reader: The Japanese Reformation of Poetic Language 39  “You love, so do I, / Now / No difference in our hearts. ” The major abstract terms appearing in this section with “bible,” such as “truth,” “right,” “beauty,” and “ideal,” stand for the speaker’s strong desire to realize the absolute appropriation of all: The clear spring inside me Overflowed, Became muddy— A child of sin you are And so am I.

The text makes interpretation continuous, by giving positive encouraging messages. The respectable mother directs the child as her divided self to communication and action in search of the lost union to be actualized in eroticism: To whom should I speak Of the color of crimson? My throbbing blood, My life in full bloom In the spring of passionate love! Moreover, the reproductive process must be dignifiedly pursued by the children endowed with confidence and sympathy, which all the more smoothly accelerates the process by giving an overall—both conscious and unconscious—consent to every participant.

The head is, in fact, heavy with its black and lengthening adornment. Nevertheless, the contingent arrangement does not ascribe an absolute value to the pieces foregrounded by their position at the beginning. Moreover, the mirroring Tanka poems are subversive in suggesting the potential of everlasting transformation, as is indicated by the crown of wavy hair for distribution, an icon of the Tanka itself. What is emphasized is only the delineative oneness. Just as in the Japanese reality where homogeneous territory is endlessly enlarged from “I” to “we,” “we” to “land,” and “land” to “Nature,” the identity of content tends to be blurred, which points out the fusion of self and wholeness.

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Categories: Modernism