• Cross-Cultural Studies
• /
• v.43
• /
• pp.327-354
• /
• 2016

Rimbaud's prose poem, Barbare in Illuminations, is known for its abstruseness with regard to forms, themes, metaphors. This paper first analyzes the poem's grammatical structure to make sense of such an inscrutable piece of work, then discusses its autotextuality in order to decipher its meaning by comparison with Rimbaud's other works. Autotextuality, a method of literary interpretation of Rimbaud's prose poem presented by Steve Murphy, refers to the intertextuality between the author's works. Despite some previous researches focusing on the intertextuality of Barbare, previous authors have failed not only to find its meaning but also to determine its significance. The abstruseness of Rimbaud's Barbare is sometimes considered an example of the meaningless of Rimbaud's work. However, examining the textual structure and the autotextuality builds meaning, rather than rendering the work meaningless. Barbare which consists entirely of noun phrases and metaphors means destruction, fusion and the pure power of regeneration in the original context of Rimbaud's work. This poem is Rimbaud's answer to Baudelaire's poetic question, Any of where out of World, and presents a strange scenery that uses 'the eternal female voice' to reach the Vulcan in the North Pole. Interpretation of Barbare could provide a methodology for reading the difficult Illuminations. The kind of analyses used are, for example, analysis of the text, analysis of verbal indicators, autotextuality, and an understanding of the joy and the solitude in the silence of the poem. Understanding Barbare may provide a method of interpreting the abstruseness of Illuminations. Through this approach, we can connect and combine every fragment of the Illuminations, so that we can reconstruct the story and the adventure contained therein.

• Journal of architectural history
• /
• v.31 no.5
• /
• pp.57-64
• /
• 2022

Architectural Monuments have to overcome the challenge of time due to physical properties. The fundamental issue must be grounded in an understanding of history and art to overcome this challenge and make themsustainable. Many efforts to preserve the monuments through the 19^th century and at the beginning of the 20^th century to record them in scientific form were successful. To be aware of the meaning of the art and not to be 'barbare' anymore was behind the promotion of these activities. Above all, the 19th-century French architect Viollet-le-Duc contrasted the concept of barbarism with the concept of art and tried to redefine architecture as art. The ritual to escape 'barbare' played an important role in the end. This consciousness was also at work in the propaganda for the preservation of medieval architectural monuments in France, led by intellectuals such as Rodin. Also, the concept of 'barbare' served as an important yardstick whenever the cause of their loss was questioned while important monuments were destroyed in the First World War. From the viewpoint of Germany, Dehio was the pioneer of the preservation movement and documentation of monuments. The principle he advocated was preservation, not restoration. The historian Pevsner, who moved to England, also surveyed monuments in various parts of England and left them in the same format as Dehio. These facts show that architecture as art plays a fundamental role in the history of human life.