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 flow introduced the main extraordinary 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 paintings. as a way to elucidate the importance of that «essential» shape in capitalistic occasions, A Flowering Word applies C. S. Peirce’s semiotic concept to the relevant 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
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. The Tokugawa Sho- gunate, however, persisted in closing the country to the outside world in order to retain the social system based on agricultural feudality throughout the Edo period.
If the premisses are not in fact doubted at all, they cannot be more satisfactory than they are. (Collected Papers of Charles Sanders Peirce 5: 233) In Stevens’s expression: What our eyes behold may well be the text of life but one’s meditations on the text and the disclosures of these meditations are no less a part of the structure of reality. (“The Necessary Angel” 76) 21 The excerpt is quoted in Perkins 2: 43. 22 See Peirce, Papers 6: 86–87. 23 The enclosed terms, “effect” and “mind,” are from the explanation of D.
22 Directed by their theoretical leader Masaoka Shiki (1867–1902), the naturalist poets chose to represent their strong self-consciousness paradoxically through the negative frustrating picture of the absent self. The Waka’s 31 syllables must be a recorded everyday landscape behind which to discover the essence of the poet’s ephemeral self. Exemplifying his method of mimesis advocated in “Utayomi ni atauru sho” (“The Manual Given to the Waka Poets”), Shiki wrote a Tanka suite featuring the self-effacing voice sunk under the heap of metonymic elements of Nature observable in his death bed: The Japanese Reformation of Poetic Language 49 The wisteria cluster Thrust into the vase Is so short It does not reach As far as the tatami.