본 연구는 가톨릭 민족주의와 프로테스탄트 합병주의라는 이분법적 환 원주의를 강화시키는 아일랜드의 기념 정치를 탐구하기 위해 마이클 롱리가 사용한 기억 시학을 분석한다. 첫째, 롱리의 기억 시학은 양귀비꽃 이미지를 사용하여 제1차 세계대전과 북아일랜드 분쟁을 상징적으로 연결시키며, 기념 정치의 이분법을 극복한 다. 둘째, 롱리는 포스트-1916세대의 노스탤지아를 통해 역사적 희생자들 간 연대의 비전을 제시한다. 그는 과거에 실현되지 않은 가능성들을 탐구하는데 있어 세계대전과 북아일랜드 분쟁의 희생자들을 병치시켜 당대 지배적인 기념 정치를 탈신화한다.

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 them sustainable. Many efforts to preserve the monuments through the 19th century and at the beginning of the 20th 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.