Read e-book online A Flowering Word: The Modernist Expression in Stéphane PDF

By Noriko Takeda

ISBN-10: 0820438979

ISBN-13: 9780820438979

In its overseas 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 include an indestructible cohesion of language and paintings. for you to elucidate the importance of that «essential» shape in capitalistic instances, A Flowering note applies C. S. Peirce’s semiotic idea to the central 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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http://bibliotik. org/torrents/80604
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As a facet word, because the resource is similar, web page 546 remains to be lacking. this is the unique textual content via GekK:

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Extra 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)

Sample text

For the romantic poet, writing is supposed to equal himself. Tekkan inaugurated the Shinshi-sha (New Poetry Society) in November 1899, and began publishing the magazine Myo-jo- in April of the following year. The organ reveals its modernist ambition,9 collecting both the new Tanka pieces and the “modern-style” poetry, as well as Western paintings that feature the decorative Art Nouveau fashion to mark the rejuvenation of the century. As is indicated by the sixth tenet on the 1900 issue, Tekkan intended a Tanka piece as an authentically artistic, autonomous whole, by calling it “Tanshi” (Short Poem) in the fifteenth issue.

Cosmic images collide with each other, striking sparks in a limited body of 31 syllables. The prescribed space is endlessly enlarged by the powerful explosion that allows the speaker, with a resounding voice full of iridescent echoes, to praise love, the main theme of a work seeking for all, romantic and erotic, metaphysic and realistic, and individual and universal. The original Japanese of the first piece, in which the words for “the star” (“hoshi”) and “now” (“ima”) The Japanese Reformation of Poetic Language 31  are connected by the shortest tie of one syllable “of” (“no”), forcibly scrambles the dimensions of time and space in this collection; simultaneously, the speaker’s passionate voicing strongly reverberates bodily rhythm in real life.

The symbol is the precipitate of all the ‘tiers aspects’ . . that have grown out of the metaphors of the poem. . (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.

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A Flowering Word: The Modernist Expression in Stéphane Mallarmé, T. S. Eliot, and Yosano Akiko (Currents in Comparative Romance Languages and Literatures, Volume 67) by Noriko Takeda


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