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By Noriko Takeda

In its foreign and cross-cultural evolution, the modernist stream introduced the main impressive achievements within the poetry style. via their fragmented mode via semantic scrambling, the modernist poems search to include an indestructible team spirit of language and artwork. in an effort to elucidate the importance of that «essential» shape in capitalistic instances, A Flowering observe applies C. S. Peirce’s semiotic conception to the vital works of 3 modern writers: Stéphane Mallarmé’s past due sonnets, T. S. Eliot’s 4 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 Stéphane Mallarmé, T. S. Eliot, and Yosano Akiko (Currents in Comparative Romance Languages and Literatures, Volume 67)

Example text

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!

The Waka authors participate in a euphoric fusion for an eternal life comprising all, by way of language. Their words are thus productively self-effacing as the communicative node for differential signification. Negishi school’s metonymic Nature poetry of “absence,” developed by the followers of Shiki, situates itself as another avant-gardist point for the traditional Waka of the overall oneness: When cowherds begin To make poems, Many new styles In the world Will spring up. (By Ito- Sachio) (B-T, 158) Out on the lake This ice has melted.

In the collection, creative guidelines were represented by the translated works of Western poets, such as Shakespeare, Tennyson, Thomas Gray, and Longfellow. 5 Ochiai advocated the elimination of limits on “their materials, expression, diction and thought” (Keene 14) and encouraged a creation of poetry with originality (Keene 15). In the following poem, his ideals are paradoxically foregrounded by the syllabic and aesthetic restriction of the traditional Waka; the poet challenges the conventional framework, by heaping the unconventional allegories of “masurao buri,” “manliness”—the aesthetics of the ancestral Manyo- -shu- —in the first half of 17 syllables.

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