By Johanna Marie Buisson
This publication explores the multifaceted innovations of otherness, barbarism and exteriority. Is encountering the ‘Other’ nonetheless attainable in an international during which all of us became rootless, disconnected and strangers, alienated from the skin international and from ourselves? Does the query of ‘Otherness’ nonetheless undergo a which means after the deconstruction of the self and the crumbling of the very notion of identification? the writer examines a few significant twentieth-century poetic responses to the violent denial of otherness and distinction in glossy Europe. the parable of Medea is introduced in to mirror upon the tragic historical past of the stumble upon with the opposite in eu concept, epitomising the best way rationalist Positivism suppressed the opposite, via both assimilation or exclusion.
The quantity is going directly to discover the concept that of barbarism in language, revealing how a few smooth or post-modern eu poets faced their respective languages with the barbaric - otherness, the surface, the ‘uncivilised’. the writer specializes in 3 twentieth-century poets who skilled barbarism indirectly and whose paintings constitutes a poetic counter-attack and an try out at regeneration: Henri Michaux, Paul Celan and Ted Hughes. those poets wrote inside post-modernity in a kingdom of never-ending displacement and their anguished alienation echoes the plight of Medea - the barbarian among the ‘civilised’ Greeks. Their new lingua barbara grew to become a language of otherness, of inter-space and displacement.
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Extra resources for Lingua Barbara or the Mystery of the Other: Otherness and Exteriority in Modern European Poetry (European Connections)
Since the construction of the tower of Babel (or Babylon, the city of Nebuchadnezzar) was associated with monolingualism (around a unique, universal tongue), God struck language in order not to be challenged in his ‘almighty’ power. He therefore decided upon the confusio linguarum and created multilingualism. This action also created ‘barbarians’: men would be ‘barbarians’ to each other, as defined by their linguistic community. 51 The Christian definition of ‘barbarian’ is based on the linguistic dif ference: any unintelligible ‘voice’ makes of the speaker a barbarian to the auditor and any non-understanding auditor becomes a barbarian to the speaker.
This action also created ‘barbarians’: men would be ‘barbarians’ to each other, as defined by their linguistic community. 51 The Christian definition of ‘barbarian’ is based on the linguistic dif ference: any unintelligible ‘voice’ makes of the speaker a barbarian to the auditor and any non-understanding auditor becomes a barbarian to the speaker. In this conception, the multiplicity of languages alone caused men to become foreigners – and therefore barbarians – to each other. In the Christian frame, God is therefore responsible for barbarian-making, and any human attempt to discover or forge a universal tongue would be a sin.
The Biblical tradition seems to believe so, for the Word was at the beginning of all things in Genesis. 68. 71. 72. Plato more or less defended Cratylus (only if ‘natural sounds’ exactly ref lected the ‘essences’– the essential truth of mathematic spheres) against Hermogenes, who was a disciple of Heraclitus (a ‘materialistic’ philosopher). Going Barbaric 17 rival conceptions of language. One tradition maintains that it creates; the other, that it expresses. If one interprets the words of Genesis as meaning that God is the Word, then language is sacred and primary: language itself is the Raw.