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 circulation introduced the main outstanding achievements within the poetry style. via their fragmented mode by means of semantic scrambling, the modernist poems search to embrace an indestructible cohesion of language and paintings. in an effort to elucidate the importance of that «essential» shape in capitalistic instances, A Flowering Word applies C. S. Peirce’s semiotic conception to the critical works of 3 modern writers: Stéphane Mallarmé’s overdue 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 illuminating voice envelops the reader as sunlight. The poetspeaker embraces him or her as the mother-queen at the universal throne. Correspondingly, the collection’s grand poems heighten juvenilia as their alter ego by intratextual reflections for their own development. All is necessary and simultaneously dignifies each other. In Japan, the ancestral goddess of Shintoism represents the cosmic body, the sun, as the umbilical phoenix, taking the mirror as its symbol (“Amaterasu o- mikami”). The expanding light descends, however, to mingle in the air with grayish humidity that reflects the Buddhist thought of horizontal equality.
Crystallized at the center of the poem with six syllables that break the Tanka convention, the forwardedness forcefully directs the entire collection dedicated to the privileged moment and voicing self as the minimized jewel of condensed light. The omnipotent point, which is made explosive by the clashing of the two words, embodies the cosmic work itself, seeking for a wholeness that includes time and space, syntagm and paradigm, present and past, and production and consumption. In the stressed image of oneness and rebirth throughout the collection, which is constructed by the reappearance of the same form of the Tanka, the black lines of hair-words become identical with the shafts of light.
The title image incorporates universal oneness as a self-sufficient and organic seed of sameness and otherness, just like the iterative Tanka poem itself. The symbol for wholeness announces the dominance of its inaugurating section, highlighting the female author-speaker at the doorway of her literary career and married life. 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.