architecture as synecdoche

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Architecture as Synecdoche: A Poetics of Trace

Author(s): Crystal DowningReviewed work(s):Source: Pacific Coast Philology, Vol. 23, No. 1/2 (Nov., 1988), pp. 13-21Published by: Pacific Ancient and Modern Language AssociationStable URL: http://www.jstor.org/stable/1316680 .

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ARCHITECTURE AS SYNECDOCHE:A POETICS OF TRACECrystal owningUniversityfCalifornia,antaBarbara

Writers f fiction ften onstructrchitecturalmageswithintheirworks to pose (as) synecdoches f the texts thatcontainthem. Theircharactersnter difices escribedwithin he ourse fthenarrative,eekingescapefrom hechaosofquotidian xistenceutside,ike readerswhoenterliteraryworks in searchof themetaphoric ullnessof an autonomousstructure hose anguagetranscendshetemporalityfeveryday iscoursebeyond ts margins. Some writers eem to gesture owarda correlationbetween artand wholeby naming heir exts fter hearchitecturalormsthat enter heworldsof theirwork:BleakHouse,Howard'sEnd,MansfieldPark,NorthangerAbbey, he Castle of Otranto,he Professor'sHouse,Wutheringeights,heHouseoftheSevenGables,nd so on. Others reatein their exts hroughatternsfrepetition-whetheryntacticr semantic,alliterative r allusive-a sense of "palpability" Roman Jakobson)or"corporeality"SigurdBurckhardt)hat orces hereader o ookat languagerather han hroughtto ts referents.imilarly,haracters ithin exts ftenread arbitrary r conventionalsymbols on the texturedsurfaces ofarchitecturalnclosures, urposefullyorgettinghehistorical,ociological,andpsychologicalontingenciesualifyingife--andanguage-beyond heirwalls. I choose to call a self-consciousonnection etweensynecdochicarchitecturend the texturedextnwhich t appears"architexture."1s amicrocosmf artistic nitywithin literary ork, rchitextureignalsthedesire for text o becomea microcosmic orld, miracle fraredevicewhich eeks to shieldreaders romurrentritical oicesprophesyingar-or at leastdeconstruction--onhe ext.However, here s an irony oarchitexture,ustas there s an ambiguityin the term"synecdoche." Some commentatorsay that synecdocheembodies a metaphoric condensation, whose coherence stands incontradistinctionometonymicisplacement;thers ubsume tsidentitynthesyntagmaticontiguityf that amemetonymy.2see inmanyworksarchitecturalynecdochesmediating etween thepoles of metaphor ndmetonymy,hemovementetweenwhich mbodies irony" s defined yKenneth urke: whatgoesforth s A returns s non-A" 517). Whatgoesforth s metaphor, bodyof signifiersreating self-sufficientosmos ofmeaning, returns as metonymy, ontingentupon a self-consumingcommercefmeaning.Whenwritersstablishrchitecturalynecdochesndthenndicate hat hey annot ullynclose nd contain heir uman ubjects,theyoften, believe, re revealing n aesthetic heory hatwe as readersshould apply to their texts: a literarywork cannot fullycontain its subjectmatter, ven as it createstheillusionofhavingdone so. We have a dialectic

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14 Crystalowningof architextures miseen scenerazed toarchitextures miseen abfme,naesthetics f presenceundermined y deferral f meaning, utonomoussymbol xposed s intentionalign, he podictic ext educed oaporia. Theirony f rchitextures thatwhatgoesforths a "poetics f pace"returnss apoetics ftrace.In ThePoetics fSpace,GastonBachelardproposesthatbooks,likearchitexturalpaces, "give our daydreamscountlessdwelling-places,"providinghenecessarynclosureso"retain urmemories"25-26).As partofhis "valorizationfcenters fconcentratedolitude"Bachelard xplainsthat architecturalpaces communicate cosmicity"to the "imaginingconsciousness" xx), enabling t to escape the temporalityf quotidianexistencena momentaryepose fpoetic pace. He stopsust hort f ayingthat iteraryescriptionsfarchitectureperate s synecdocheshatmightlend"cosmicity"-theenseofa harmonious,elf-sustainingystem-totheartificial orkof thepoet'spen, thusestablishinghetext s a seeminglyautonomous ource foroneiricreflection.ndeed,Bachelard elievesthat"thepoetic magehas an entitynd a dynamism f its own," that"it isreferableoa direct ntology"xii). A gooddeal ofmodernistriticismasendorsed similar iew nitsvalorizationf"form" s a "solipsisticategoryof self-reflection"deMan 4); it even developsarchitectural etaphors oestablish he iterary ork as a "container" fmeaningwhich nvites heentrance f the magining onsciousness.The Phenomenologicalnd theNew Criticalreader both seek entrance o the same "prisonhouse oflanguage," esiringhat aradoxicalnclosureescribedyVictor rombert:prisonwhich ecomes "metaphorfthe extualpace" 16). Thisenclosureis rooted in thereligious otion fa happycaptivity"17),a notionwhichhasbeenexplored nthropologicallyyMirceaEliade. In TheSacredndtheProfane,liadeestablishes hat eligiousmanprojects hesacred s "a fixedpoint nto heformlessluidityfprofanepace, centernto haos" 63). Inliteraryriticalerms,he acred s thatmetaphoricullness hosecoherencestands in contradistinctiono a metonymicisplacement f theprofane.Etymologically,f course,"profane"means "before" r "outside of" thetemple,ending sense f rchitecturalpacetoEliade's"fixed oint."Inone brief assage,Bachelardffershe xample fa literaryersonaforwhomthespaceofa sacred rchitecturalnclosureerves s a dwellingplacefor intimateeing."Quasimodo, ell-ringerfNotreDameCathedral,"had grown ccustomed o taking oteofnothingutsidethesacredwallswhichhad affordedima refugewithin heirhade. Notre-Dame ad beentohim, s he grewup,successivelyhe gg,thenest,hishome,hiscountry,theuniverse"146)3-a complex osmologyfwalledescape. Inscriptionscover various parts of the cathedral, ransformingalls into textandrenderingrchitexturalhetext hat ontainshem.Hugomakes xplicitherelationshipetween rchitecturend text hroughnother esidentwithinthewallsofNotreDame deParis,who



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Architectures Synecdoche: Poetics fTrace 15s'etaitprisd'unepassion ingulibreour eportailymboliqueeNotre-dame,cettepage de grimoirecrite n pierre,.. [un]infernalrontispiceu saintpoeme ue chante ternellemente reste e l'6difice.190)[hadbeen seized with most ingular assionfor hesymbolicaloorway fNotre-Dame,hatpage ofmagicwrittenn stone, .. a frontispieceo thesacred oem ternallyung ythe est f he tructure.]159)4

Claude Frollo loves theCathedralpoursa signification,oursonmythe, our e sensqu'ellerenferme,our esymbole pars ous es sculpturese sa facade, ommeepremierexte ous esecond ansunpalimpseste.. (191)[fortssignificance,tsmysticmeaning,hesymbolicanguage urking nderthe culpturen tsfront,ike hefirstext nder he econd f palimpsest...](160)

The cathedral "elle") actuallyconfines, olds in,encloses its signification,sthe verb "renfermer"denotes. Claude Frollo seems to believe in thetransmutationof "lurking" signifiers nto a signified presence, a word-alchemyparallel to thealchemicaltransmutation f base metalintogold thathe seeks to achieve in a cell at the heart of the cathedral,a room whichcontainsa printing ress and whose walls are covered withwords. With thedescription f thiscell,Hugo literalizes themetaphorof his famous chapter"Ceci Tuera Cela" [This Will Kill That], in which he focuses on"l'architecture" s "le grand livrede l'humanit6" 210), a book whose formand content-at least in the past-united to create a sacred autonomyofsignification:

L'ideem&re,e verbe, '6tait as seulementu fondde touscesedifices,maisencore dans la forme. Le templede Salomon,par example,n'6taitpointsimplementa reliuredu livresaint, l 6tait e livre saint ui-meme. Surchacune des ses enceintes oncentriqueses pretres ouvaient ire e verbetraduit t manifestoux yeux,et ils suivaient insi ses transformationsesanctuairen sanctuaireusqu'A equ'ils e saisissent anssondernierabernaclesous sa formea plusconcreteui6tait ncore e l'architecture:'arche.Ainsi everbe"taitenferme ans l'edifice,mais son image6tait ur son enveloppecomme a figureumaine ur e cercueil 'unemomie. 211-212)[Thegerminaldea, theverb,was notonlythebasis oftheseedifices, utdictated heir orm.TheTemple fSolomon, or xample,was not imply hecoverofa sacredbook, t was the acredbook itself.On every ne of theseconcentric nclosures,the priestscould read the Word translated ndmanifestedisibly; hey ould thusfollow tstransformationsromanctuarytosanctuaryntil t lastthey ould seizeupon t n ts final abernacle,nderits most oncrete orm, hichwas yet rchitecture:heArk. ThustheWordwas enclosed n theedifice, ut tsimagewas on itsouter overing,s thehuman igures carved n the offinf mummy.]176)



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16 CrystalowningThe "Wordwas enclosed in the edifice," ust as words were enclosed("renfermV")nNotreDame,making s thinkf thewords nclosed etweenthecovers f thenovel which arries hecathedral's ame. In each case weseem to have "not imply hecover f a sacredbook,"but"the acredbookitself": he Transcendentalignifiedmanifestedisibly," MetaphysicsfPresencendefiancef theprofane.A search forthe Transcendental "Arche . . . enferm6dans l'edifice"marks notherathedral-centeredovel. WillBrangwenfD. H. Lawrence'sThe Rainbowegards incolnCathedral s "Awayfrom ime, lwaysoutsideoftime!Between ast andwest, etween awnandsunset,he hurchay ikea seed in silence, arkbefore ermination,ilenced fter eath" 201). Theconflationfseed,turning orld, ndcathedralignals rchitecturalpaceasautochthonousnd autotelic orm.This seed embodies "circle fsilence"that s itselfencircled--"spannedoundwith herainbow"201)-remindingus of the "concentric nclosures"surrounding l'arche" of Solomon'sTemple.Lawrence's arche" fa rainbow5s created ysunshininghroughone of LincolnCathedral'sfamousrosewindows. However,thedefinitearticle the" nsteadof "a" before heword"rainbow"n Lawrence's extsignals synecdochicelationship. henovelTheRainbowncompassesndcontains tssignifier,incolnCathedral,ustas thebuilding nvelops"therainbow" panningts nterior. r,toparaphrase ugo,"the rainbow] asenclosednthe difice,ut ts magewason itsouter overing."While Lawrence's Brangwenexperiences n Lincoln Cathedral a"timelessonsummation.. the limax feternity,he pexofthe rch" 202),Anna,hiswife, wouldnever onsent otheknittingfall the eaping tonein a great oof hat losedher n,andbeyondwhichwas nothing,othing,twas theultimate onfine"203). Because herefuses o allowtheexistentialto be reduced o theconfines fan aesthetictructure,shecaught t littlethings,which avedherfrom eingsweptforward eadlong n thetideofpassion" (203) thatmarkedWill's "timeless cstasy" 202). Rather hanrevelingn a synecdochicrainbow"which enters ision,Annafocuses nthemetonymicargoyles,wicked, dd little acescarved n stone" 204),whichde-centerscapist everie:They new uitewell, heseittlemps hat etortednman's wn llusion,that the cathedralwas not absolute. They winked and leered,givingsuggestionfthemany hingshat adbeen eft ut ofthegreat oncept fthechurch.However uchheres nside ere,here'sgooddealthey aven'tgot n,'the ittle acesmocked. 204)The llusion fmetaphoricullness, newworldcreated yart, s broken ythepresence f thatwhich s metonymicallyontiguouswith,but "left utof," he nclosure.Gargoylesreoutside hefane, ndonceAnnasees them,shemocksWill's"timelesscstasy"with a tinkle fprofaneaughter"205,emphasismine).Anna s "Victrix"s the athedral, hich oWill"hadbeenas a world.. within chaos," hangesnhisperception:



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ArchitecturesSynecdoche:PoeticsfTrace 17Butnow, omehow,adly isillusioned,e realizedhat he oorway asnodoorway.t was toonarrow,twas false.Outside he athedral eremanyflyingpirits hat ould never e siftedhroughhe ewelledgloom. He hadlosthis absolute.206)A human onstructrovidesno doorway othe transcendenterceptionsfautonomous,bsolute orm.So also a literarytructures artificial,"false"form reatedby thetemporal lay of arbitraryignifiers.Will ends upenvisioningrt as embodied n edificeswhichforegroundheir ies to thetemporal:He thoughtftheruins ftheGrecianworship,nd itseemedtemplewas never erfectlytemple,ill t wasruined ndmixed p with hewindsand the ky nd theherbs" 206). Wemightdd that fane s neverperfectlyfaneuntil t s recognizeds being"mixed p" with heprofane,

that he esthetican never ully lose tself ff rom he xistential.So tooQuasimodo oses his absolute. Trying o save Esmeralda, edefacesonemightven ay"deconstructs")is sacred niverse,truttingndfrettingponthecathedralace-thestageofhis existence-asherips patialstruts nd fretworkromts surface. He takeshis finalreposenotin thesanctuary,hespiritual enter fParis,but amongthe worm-eateneams,rusted hains,nddecaying illars fMontfaucon,decrepit rison utside fthecityenclosure. The "being"ofmetaphoricullness hatthe cathedralmight epresentas beendefaced---dis-placed-byhetemporalbecoming"of an edifice in ruin. So too "le templede Salomon . . . est detruit" [thetemple fSolomon.. . was destroyed]nd"lesportes e pierre u sepulchredesroisd'Israel .. sont risees"206) [the tone oors fthe epulchersftheIsraelite ings.. have crumbled opieces] 172). Rather han Bachelardianneed forenclosure, or walls as limits,Hugo's finalarchitecturalracesdemonstrate he desire fordis-closure,for fiction o break open thecontingent.We can read otherHugo texts s palimpsestsurking nderNotreDame de Paris ust as Claude Frolloread "thesymbolicanguage urkingunderthe second in a palimpsest" 159). In Quatre-vingt-treize,ugodescribes hedeconstructiony fireof a fortressower,whose walls arecoveredwithbooks;in Le Dernier our 'unCondamndTheLast Day ofaCondemned], e signalsthe nsufficiencyfreveryn a prisoncellwhosewalls "sont ouverts '6critures,e dessins, e figuresizarres, e nomsquese melent t s'effacentes uns les autres" 441) [arecoveredwithwritings,withdesigns,with trange igures,ndnameswhichmixwith ndeffaceachothertranslation ine).] Thestory's rotagonists condemned o a prisonhouseof ndecipherableanguage; hecontinual isplacementfonewritingbyanother otonlydefaces hewalls, teffaceshe exts hemselves. laudeFrollo's ell nNotreDame s similar othat fHugo's "condemned":

les inscriptionsebordant u hasard, elles-ci urcelles-la,es plus fraicheseffagantes plus anciennes. .. C'etait, n effet,neassez confusemelee detoutes esphilosophies,e toutes es reveries,e toutes es sagesseshumaines.(307-308)



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18 Crystal owning[inscriptionsverflowedtrandom,neuponthe ther,hemore ecentffacingthemore ncient... Itwas, ndeed, confusedminglingf ll philosophies,all human everies,ll humanknowledge.]263)

Hugo employs the word "efface" throughoutNotreDame de Paris,confirmingur senseofskepticismboutthe ufficiencyf textual lenitude.In fact,he reiterateshe word in thenovel's preface s he describes ninscriptionnoneofthe athedral's owers:... ilne reste lusrien ujourd'huiu motmysterieuxrave ans a sombreourde Notre-Dame, rien de la destinee inconnue qu'il resumait simelancoliquement.'homme ui a ecrit e mot ur ce mur 'estefface,l yaplusieursidcles,umilieu esgenerations,e mot 'estA ontour ffac6 umurde l'6glise,'Fglise lle-meme'effacera ientot eut-etree la terre.

C'est ur e mot u'ona fait e ivre. 3-4)[... theres todaynothingeft f thatmysteriousord ngravednthegloomofthe tower fNotre-Dame,othingeft ftheunknown estiny fwhich twas so cheerless summary. heman whowrote hatwordon thatwall waserasedfrom hemidst f thegenerationseveral enturiesgo,theword nitsturn asbeen erasedfromhewall of the hurch,nd soonperhaps he hurchitselfwill be erasedfromheearth.Thisbookwaswrittenbout hatword.]6

Aneffaced ord, ANATKH" FATE],nscribed nan architecturalnclosurewhich tselfs mutable, ecoines epresentativefthe"fate" fHugo's text.Andthefirstncident ithinhat ext escribes poet,Gringoire,hoseowntexts effaced s hishighlymetaphoriclay s interruptedythemetonymic"entrentprocessionnellement . . de graves personnages successivementannouncespar la voix criarded'un huissier" 51) [procession f soberpersonages, nnounced uccessively y the shrillvoice of an usher] 42).Hugo summarizes hepoet's responseusingthe anguageofarchitexture:"Avecquelleamertumelvoyait '&crouleriecea piecetout on6chafaudagede gloire t de podsie!" 55) [withwhatbitternessidhe watchhisedifice fglorious oetryrumble opieces!] 46). Gringoire'sexts effaced,s willbethewords nscribedn thewallsofNotre ame deParis.The ironyof architexture eaves nothing acred. Even The OldCuriosityhopby Dickensendswiththeobliterationf "theold curiosityshop"thathad contained ell,hergrandfather,nd their uriosities. hose"heaps of fantasticthings . . . huddled together n the curiosity-dealer'swarehouse"nChapter ne adumbratehefantastichings uddledtogetherinthenovel tself.Butthewalls falldownandthemargin ades, s the paceofthe hop sdis-placedyanemblem ftemporality,road:

Theold househadbeen ong gopulleddown, nda fine roadroad was in tsplace. At firstKit]would drawwithhisstick squareuponthegroundwhereitused to stand. Buthe soonbecame ncertainfthe pot, nd couldonly ay twas thereabouts,ethought,nd that hese lterations ere onfusing.



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Architectures Synecdoche: Poetics fTrace 19Such re he hanges hich few ears ringbout,nd o dothingspass away,ike tale hat s told.671-2)

With heword "told"the ale s ob-literated,s is the hop. Kit,who s oftencoveredwith nkthroughouthenarrative,raws, s with pen,a signifieruponthegroundn an attemptore-presenthe ignifiedftheOld CuriosityShop. But he can leave onlytraces f theshop,as themeaningfulpace("spot") s dis-placedythe emporalityfconfusingalterations."ConfusinglterationsmarkTheOldCuriosityhop s well as theOldCuriosity hop. Dickens'novel was originally ontained n his weeklypublicationMasterHumphrey'slock, text amedfor tssynecdoche,clockwhich tood n thehouseofMasterHumphrey,henarratorfall theworksthatappeared in MasterHumphrey's lock. MasterHumphrey'sclockcontainedn itspendulum ase manuscripts hichwere read to a societycalled"MasterHumphrey's lock." Thisframingevice, hescaffoldingfTheOldCuriosityhop, isplays synecdochicelationshiparallel othat fthe novel tself,reating senseof ncreasingnteriorityike the"enceintesconcentriques" f Solomon'sTemple:Dickens' MasterHumphrey'slockcontainedMasterHumphrey's lock,which t one timecontained he OldCuriosityhop,which ontained,ntil he nd,theOld Curiosityhop. Oncewe getto thecenter, owever,he hoppasses away, s does "a tale TheOldCuriosityhop] hat s told,"ustas MasterHumphrey'slock s expurgatedfromhetextwhenMasterHumphrey'slocks eliminateds framingevicefrom the "FirstCheap Edition: 1848." Profanetemporalduration-assymbolizedya clock-discloses he llusion f enclosure.This disclosurealso closes Lawrence'snovel, a closurewhich isreopenedwhen Womenn Lovebeginswiththethird-generationrangwenswho end TheRainbow.Ursula, n thefinalpagesofthe atter, itnessesrainbowwhich ttests o the nsufficiencyf closedform:

Sheknew hat he ordid eoplewho rept ard-scaledndseparatentheface f heworld'sorruptionereivingtill,hat he ainbow asarchedntheir lood and wouldquiver o ifentheirpirit.. (496)Founded in thehuman,the arch is not an autotelicform;nevertheless,Lawrencewould have itbring o the context ponwhich t is contingentglimpse fwhat ifemight e:

new,cleannakedbodies would ssue to a newgermination,oa newgrowth,risingothe ightndthewind ndthe lean ain fheaven. he aw ntherainbow heearth'snewarchitecture,heold,brittleorruptionfhousesandfactorieswept way,theworldbuiltup ina living abric fTruth, ittingothe ver-archingeaven.496)The "newarchitecture"upplants hearchitecturalonfinementsfhousesand factories hile at thesame timegiving locus ofperspectiven theworldthat ontains hem. Thatperspective,owever,s as mutable s therainbowwhichdefines t, for t changeswith each new experienceof



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20 Crystal owningarchitextures thereader eeks, ndalwaysfails ofind, hat acred paceofpermanencyn the trutsnd frets fpoetic nclosure.

NOTES1. The portmanteauword "architexture" as been employedby MaryAnnCaws in AMetapoetics f thePassage:Architexturesn Surrealismnd Afternd TheEye n theText:Essays nPerception,anneristoModern,othpublishedn 1981. Heremphasis, owever,sprimarilyponthephenomenologyfreading,n thepassage operception adebythe eaderwhoparticipatesnthebuilding f the textn hisor hermind. In the atterwork, owever,she does seekto"emphasize" qually the urfacef thetext,"where elf-referentialesturestransformhe textual"nto he textural." heand I havesimilarpproachesn this egard,butwe applythemndifferentays. ForCaws,architecturaletaphorsremerely euristic;forme,they resynecdochallyresentnthe exts nderdiscussion.GerardGenettemploystheword"architext"nyet notherway, s Caws notes ntheMetapoetics:orhim tdescribesthe set fgeneral r transcendentategorieso which achsingularext elongs"181,n3).2. PeterSchofernd Donald Rice, n their rticle Metaphor,Metonymy,nd SynecdocheRevis(it)ed," rovide helpful ummary frecent heorists' ivergent efinitions fthesethree ropes.3. Bachelardsquoting irectlyrom ugo'stext: lepauvremalheureux'6taitaccoutum~ nerienvoirdansce monde u delAdes religieusesmuraillesui l'avaient ecueilli eurombre.Notre-Dame vait tesuccessivementour ui, elonqu'il grandissaitt se d6veloppait,'oeuf,le nid, a maison, a patrie,'univers"177). All quotations ftheoriginal rench re fromMarius-Francoisuyard's 961 dition.4. All translationsfNotre amede Paris re Walter .Cobb's,from he 1965Signet dition,unless therwiseoted.5. TheOED notes hat arche" s anobscure orm f"arch," nedefinitionfwhich eads therainbow." Itsmorecommon efinitionsf"arche," aken traightrom heFrench,re 1)Noah'sark, nd2) The arkofthe ovenant.This atterrk, s we haveseen, s Hugo's symbolfor theTranscendentalignified; heformer rk is used by Lawrence to symbolizeWillBrangwen'search or sacred enterfrarefied eaning.For nstance,s a newly-wed, ill"felt o secure, s thoughhishouseweretheArk ntheflood,ndall therestwasdrowned"(147). To Will,Anna "was theark, nd the restofthe worldwas flood" 187). As theirmarriagemovesbeyondtshoneymoonliss,however,Will eeks scape nLincoln athedral.6. Thispreface,ssential oHugo'sarchitexturalssumptions,s notprintednmany ditions,includinghat fSignet.Thetranslationere, hen,sbyJohn turrock,romhe1978Penguinedition25).

WORKS CITEDBachelard, aston. ThePoeticsf pace.1958.Trans.MariaJolas.Boston: eacon, 969.Brombert,ictor.TheRomanticrison: heFrenchradition.rinceton:rincetonP,1978.Burke, enneth.A GrammarfMotivesnd A RhetoricfMotives.New York:World, 962.Caws,MaryAnn. TheEye n the ext: ssays nPerception,anneristoModern. rinceton:PrincetonP,1981.--. A MetapoeticsfthePassage:Architexturesn SurrealismndAfter.Hanover:UP of

NewEngland, 981.deMan,Paul. AllegoriesfReading: igural anguagenRousseau, ietzsche,ndProust.NewHaven:YaleUP,1979.Dickens, harles.TheOldCuriosityhop.Ed.AngusEasson. Harmondsworth:enguin,972.



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Architectures Synecdoche: Poetics fTrace 21Eliade,Mircea. TheSacred nd theProfane:heNature fReligion. 957. Trans.WillardR.Trask.NY:Harcourt, 959.Hugo,Victor.Le Dernier our'unCondamnd.uvres ompletes:oman. Ed.JacquesSeebacher.Paris:Laffont,985.--. TheHunchbackfNotre-Dame. rans.Walter .Cobb. NY: Signet, 965.- . Notre-Damee Paris: 492. Ed.Marius-Franqoisuyard.Paris:Garnier reres,961.- "PrefaceotheEdition f1831." Notre-DamefParis.Trans.Johnturrock. ewYork: enguin,978.- Quatre-vingt-treize.d.Jean oudout.Paris:Garnier,967.Lawrence, . H. TheRainbow. 915. New York: enguin,981.Schofer,eter ndDonaldRice. "Metaphor, etonymy,ndSynecdoche evis(it)ed."Semiotica1 (1977):121-49.

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