By Eliot, Thomas Stearns; Mallarmé, Stéphane; Yosano, Akiko; Takeda, Noriko; Mallarmé, Mallarmé Stéphane; Eliot, Eliot Thomas Stearns.; Yosano, Akiko
In its foreign and cross-cultural evolution, the modernist stream introduced the main awesome achievements within the poetry style. via their fragmented mode via semantic scrambling, the modernist poems search to embrace an indestructible team spirit of language and artwork. so as to elucidate the importance of that «essential» shape in capitalistic instances, A Flowering Word applies C. S. Peirce’s semiotic concept to the valuable works of 3 modern writers: Stéphane Mallarmé’s past due sonnets, T. S. Eliot’s Four 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 Stephane Mallarme, T.S. Eliot, and Yosano Akiko
209–10) Umberto Eco grasps the extensive meaning of the word in the image of a wheel turning around a fixed hub (Semiotics 162–63). 18 For the concept of “kernel word,” see Riffaterre 168–69. 19 See Lotman 86–87, 165, 168, and 185. 20 According to Peirce’s pragmatism: It is a very common idea that a demonstration must rest on some ultimate and absolutely indubitable propositions. These, according to one school, are first principles of a general nature; according to another, are first sensations.
Through Yosano Akiko’s sympathetic presentation of the petrified white-painted faces and costumes in colors, the misery of the prostitute-server-dancers must be buried under the artfulness of the poems’ defensive embellishment to revive as real positiveness: Dissolving colors To paint on taut silk A Kyoto dancing girl In brilliant robes, I hear the rain this spring night. (G-S, 134) Yosano Akiko’s symbolist humanism brought the expression “The water withers— / Regrettable” in the previous section 4.
The Waka survived to flourish from its own extreme pressure, keeping the refined poetics of anonymity for ambivalent lyrical verse. The short poem shared prestige in Japanese poetry with works written in classical Chinese called “Kanshi,” aiming at intellectualism through verbalization. Until the reforming era that officially began with the Meiji Restoration in 1868, the term “song” had designated the Waka, “poem” the Kanshi (Seki 8). The processes of modernization—especially urbanism and individualization, or capitalistic alienation—were markedly under way from the Genroku era (1688–1704) with the rise of the mercantile class,4 as is reflected by the contemporary Kabuki theater using the brightness of splashing colors that highlights the mimetic diversification.