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

By Noriko Takeda

In its overseas and cross-cultural evolution, the modernist circulate introduced the main impressive achievements within the poetry style. via their fragmented mode via semantic scrambling, the modernist poems search to embrace an indestructible harmony of language and paintings. with a view to elucidate the importance of that «essential» shape in capitalistic instances, A Flowering notice applies C. S. Peirce’s semiotic conception to the imperative 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 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

The energetic language presupposes the existence and life of the author, as is indicated by the Peircean chain of generative interpretants. 20 This sublimating process brought her recognition. The drastic change within her bodily framework foregrounded its difference with her peaceful past and surroundings, thereby heightening her self-consciousness in a ceaseless reflexive process of identification. The new self as the puzzling otherness involves alienation and anxiety; however, it is in a privileged moment, defying heaven, the throne of the hero himself, while simultaneously stimulating communicative creation.

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. S/he is solaced by the shared sense of complicity. The term “bible” appears in later pieces in section 4: Let poems bear witness: Who dare deny the flower of the field Its color red? How moving! Girl with sins in spring! (G-S, 9) In the third poem, one of the fundamental elements making up this world, “water,” is seen, identified with the flooding black hair.

The female speaker’s pride, which is evidently conveyed by the above example, does not exhaust nor reject the reader with its imposing egoism. The speaker adopts the objective narrative voice of the third person. Moreover, she hints at the limitation of her beautiful self in the concluding parts of the piece; her physical beauty, symbolized by long black hair, must absorb energy from Nature to reach its apogee. Concurrently, the short evanescent Tanka poem is relieved of a semantic surplus by diffusing sublimation.

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