Academic literature on the topic 'Blanchot'
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Journal articles on the topic "Blanchot"
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Watt, Calum. "The Uses of Maurice Blanchot in Bernard Stiegler's Technics and Time." Paragraph 39, no. 3 (November 2016): 305–18. http://dx.doi.org/10.3366/para.2016.0203.
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This article argues that Maurice Blanchot is a significant presence in Bernard Stiegler's Technics and Time series. The article first sets out Stiegler's invocation of the Blanchotian ‘change of epoch’ in the first volume, which attempts to situate Blanchot within the horizon of technics. I argue Blanchot's disaster is a hidden element in Stiegler's play on the motifs of the star and catastrophe. The article then traces how these motifs emerge in the second and third volumes, in which the technical forms of photography and cinema become more important and where the motifs are woven together through reference to works by Roland Barthes, D. W. Winnicott and Federico Fellini. Stiegler filters these references to apparently disparate figures through Blanchot's analyses of writing and temporality. Tracing both overt and unacknowledged references to Blanchot in Stiegler's text, I conclude that Stiegler's use of Blanchot destabilizes his conceptions of time and epochality.
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Shuling Tsai, Stéphanie. "Traduire jusqu’au point de non-pouvoir : approche de l’engagement blanchotien." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 3 (March 21, 2011): 113. http://dx.doi.org/10.21992/t9h05t.
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In the early 60’s, Blanchot participated with a group of European intellectuals in the process of conceptualizing an international journal based on translation. In our intent to inquire into Blanchot’s approach of « engagement » in the course of the project, the present study will examine differences between Blanchot and Levinas in regards to the notion of « non-pouvoir », which directs the task of the translator towards the point of fascination or inspiration in Blanchot’s terms. The point of no-power opens possibilities to various modes of translations, questioning the limits of the subject-translator by challenging the proper form of the Original.
Notre intention ici est d’aborder, à partir de la conceptualisation d’une revue que M. Blanchot a créé avec d’autres intellectuels européens au début des années soixante, une réflexion sur l’engagement blanchotien, et de centrer notre analyse sur la différence de la notion de « non-pouvoir » entre Blanchot et Levinas, le point de fascination, ou d’« inspiration » pour reprendre les termes de Blanchot. Le concept de traduction sera l’occasion pour nous d’interroger la capacité du sujet-traducteur à remettre en cause l’idée du sens propre d’un texte.
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Holland, Michael. "The Time of his Life." Paragraph 30, no. 3 (November 2007): 46–66. http://dx.doi.org/10.3366/para.2007.30.3.46.
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Throughout his life, contemporaries of Blanchot either sought to relegate his writing to the past, or else espoused it uncritically in a gesture akin to what Jean-Luc Nancy once called syncope. Blanchot thus divided his epoch in a way that was less a polarization than a struggle for the present in which thought takes place. Consequently, readers today in search of what makes Blanchot continue to be a contemporary find that the time of his writing is shrouded in a curiously unstable quantity of oblivion. This article argues that Blanchot's refusal of biography brings about an inaugural disruption of the temporality of rational thought. From the outset, the ‘I am’ of reflection is accompanied in his writing by an ‘I am dead’ which is narrative in nature. Jacques Derrida's work is taken to exemplify the espousal of Blanchot by his contemporaries. Despite the acuity of Derrida's analyses of the fractured present of rational discourse, however, the article seeks to demonstrate that the priority of narrative in Blanchot's thought gives rise to a temporality for which philosophy can never find the measure.
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Allen, William S. "Blanchot and Lautréamont." Qui Parle 29, no. 1 (June 1, 2020): 95–143. http://dx.doi.org/10.1215/10418385-8241923.
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Abstract Blanchot’s readings of Lautréamont are among the most important writings on this challenging author, and they are also crucial for the development of his own thinking, but they have never been discussed in depth. This essay surveys the whole range of Blanchot’s writings on Lautréamont and shows how they constitute the first considered attempt within his thinking to examine the notions of the fantastic and the image in relation to the experience of metaphor. This survey not only enables a renewed understanding of the significance of Lautréamont’s writings but also reveals how Blanchot transforms the Hegelian thinking of experience by way of its passage through literature.
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Hart, Kevin. "From the Star to the Disaster." Paragraph 30, no. 3 (November 2007): 84–103. http://dx.doi.org/10.3366/para.2007.30.3.84.
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Franz Rosenzweig's The Star of Redemption comes before the Shoah and Maurice Blanchot's The Writing of the Disaster comes after it. The one addresses itself with hope to the figure of a star; the other meditates on the state of being without a guiding star. The figure of Emmanuel Levinas stands between these two works, since Totality and Infinity is marked by Rosenzweig's critique of totality and The Writing of the Disaster is in part a response to Levinas's philosophy. Both Rosenzweig and Blanchot propose a new way of thinking, one that calls unity into question. This essay seeks to clarify what ‘thought’ means for Rosenzweig and for Blanchot. In what ways do Rosenzweig and Blanchot converge? In what ways do they diverge?
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Ferguson, Sam. "Maurice Blanchot: ‘Theorist’ of the Diary?" Nottingham French Studies 61, no. 2 (July 2022): 104–18. http://dx.doi.org/10.3366/nfs.2022.0346.
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Maurice Blanchot’s writing on the diary has been presented as ignorant and contemptuous of its object, and as misrepresenting the diary by focusing on its literary qualities. This article rehabilitates Blanchot as a critic and theorist of the diary, and moreover, as a pivotal figure in realising the diary’s literary potential. Blanchot’s discussion of particular diarists (including Benjamin Constant, Joseph Joubert, Søren Kierkegaard, Franz Kafka, and André Gide), together with his critical reflections, were instrumental in his creation of conceptions of literature that exerted a strong influence on the avant-garde movements of the following decades, even though these avant-gardes rejected the introspective aspect of intimate writings. Furthermore, Blanchot produced a programme for how the diary might become a literary work, which was picked up again by Roland Barthes in 1979, and casts light on experimental uses of the diary in recent decades.
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Hill, Leslie. "From Deconstruction to Disaster (Derrida, Blanchot, Hegel)." Paragraph 39, no. 2 (July 2016): 187–201. http://dx.doi.org/10.3366/para.2016.0194.
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Derrida's Glas (1974) found one of its most attentive readers in Maurice Blanchot, whose fragmentary volume L'Ecriture du désastre (The Writing of the Disaster) (1980) responds in a number of ways to Derrida's book, in particular to its reading of Hegel. This article retraces the silent dialogue between Derrida and Blanchot as it unfolds in the two texts mentioned as well as in several others, including some of Blanchot's earlier essays and fiction, notably La Folie du jour (The Madness of the Day) and L'Arrêt de mort (Death Sentence).
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Rapaport, Herman. "After Blanchot?" Paragraph 32, no. 2 (July 2009): 255–64. http://dx.doi.org/10.3366/e0264833409000583.
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Bident, Christophe, and Sylvia Gorelick. "Staging Blanchot." SubStance 50, no. 2 (2021): 141–55. http://dx.doi.org/10.1353/sub.2021.0023.
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Surya, Michel. "L'autre Blanchot." Lignes 43, no. 1 (2014): 7. http://dx.doi.org/10.3917/lignes.043.0007.
Full textDissertations / Theses on the topic "Blanchot"
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Barra, Cynthia de Cassia Santos. "Sobrescrever Blanchot." Universidade Federal de Minas Gerais, 2007. http://hdl.handle.net/1843/ECAP-76BP73.
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A partir de dois textos, especificamente, o artigo "Comment la littérature est-elle possible?" (1943) e o ensaio que serve de introdução ao livro Faux Pas (1943), procurou-se demonstrar algumas das principais características e alguns dos limites da crítica e da história literárias constituintes de parte da obra de Maurice Blanchot. Foram investigados os livros críticos publicados até 1969. Procurou-se, também, realizar uma apresentação, uma tradução e um comentário para esses textos mencionados e que não possuem publicação em língua portuguesa até o presente momento.
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Harlingue, Olivier. "Maurice Blanchot et la philosophie." Paris 10, 2005. http://www.theses.fr/2005PA100097.
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Dans la première partie de notre étude – consacrée à l'examen du premier moment de la pensée blanchotienne qui s'étend de Faux pas à Le livre à venir –, c'est tout d'abord en montrant comment Blanchot interroge phénoménologiquement et ontologiquement l'existence même de la littérature que l'interminabilité de l'incessant nous apparaîtra non seulement comme le phénomène (du) littéraire, mais aussi comme ce qui appelle déjà un certain rapport critique avec la discursivité philosophique. Or, dans la seconde partie de notre étude – consacrée au second moment de la pensée blanchotienne qui s'étend de L'entretien infini à L'écriture du désastre – il va alors s'agir de "délimiter" et de "dépasser" les limites mêmes de ce rapport encore seulement critique avec la philosophie afin de penser l'interminabilité de l'incessant non plus phénoméno-onto-logiquement, mais en tant que forme même a-plastique de la différence (du) neutre et de l'écriture hors philosophie et hors littératureThe first part of our study – devoted to the examination of first moment of Blanchot's thinking, which extends from Faux pas to Le livre à venir – initially sets out to show how Blanchot interrogates, both phenomenologically and ontologically, literature's very existence as the incessant interminability that will appear to us not only as the phenomenon (of) literature, but also as that which already demands a certain critical relation with philosophical discursivity. Then again, in the second part of our study – devoted to the second moment of Blanchot's thinking, which extends from L'entretien infini to L' écriture du désastre – it becomes a matter of "delimiting" and "overcoming" the very limits of this still merely critical relation with philosophy so as to think the incessant interminability, no longer phenomeno-onto-logically, but as the very a-plastic form of difference (of) neutral and writing outside philosophy and outside literature
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Limet, Yun Sun. "L'écriture critique de Maurice Blanchot." Paris 8, 1997. https://octaviana.fr/document/181449196#?c=0&m=0&s=0&cv=0.
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Notre etude met au jour la notion d"'ecriture critique" dans l'oeuvre non fictionnelle de maurice blanchot. Il s'agit de rendre a ces ecrits leur pertinence critique, en affrontant leur dimension commentative. Une telle approche montre que la critique se joue dans l'ecriture elle-meme. Nous avons choisi de limiter notre corpus aux ecrits non fictionnels. Ceux-ci elaborent une pensee de la critique qui est pensee d'un "rapport". En analysant la pratique critique de blanchot, ses strategies commentatives, nous montrons que ce rapport, marque du sceau de l'impossible, est paradoxalement possible dans une ecriture critique ; critique parce qu'elle passe par une interrogation reflexive sur la critique elle-meme, mais en meme temps ecriture, parce que cette autoreflexivite s'ouvre a une temporalite que nous designons comme "temps de la critique". Ce temps de la critique differe la lecture dans l'ecriture et la relance continuellement dans une "reecriture". L'acte de differer passe par la mediation d'autes commentateurs, il s'accomplit egalement dans le "ressassement", la reprise et le deplacement des figures, des problematiques, des auteurs privilegies. Ce temps specifique lie a l'ecriture critique permet egalement d'indiquer une evolution dans l'oeuvre non fictionnelle de blanchot en effet, on peut situer le "moment fragmentaire" comme celui d'une mise en crise et d'une relance du rapport critique dans l'ecriture. Cette "crise" est l'epreuve d'un sujet de l'ecriture qui, clive jusqu'alors, trouve a se reconstituer a travers autrui. Ce rapport a autrui est, en fait, inscrit dans le rapport critique lui-meme tel que nous l'avons defini dans un premier temps. Essentiellement paradoxal, il trouve une nouvelle dimension dans la pause blanchotienne de l'amitie et de la communaute: rapport sans rapport. Il s'agit d'un tourment qui investit son ecriture critique et donne sens a toute ecritureWe elaborate the notion of "critical writing" in blanchot's non fictional work. This notion is important, not only because these writings are critical, but also because criticism should be understood as central to writing as such. We have restricted our corpus to the non fictional writings. These writings think literary criticism as a "relation" fondamentaly defined by its impossibility. Analysing blanchot's practice of literary criticism, we find that this "relation" is paradoxically possible in a "critical writing". The critical dimension comes from the self questioning of blanchot's critical writings on criticism. But the autoreflexive gesture is not only a solipsist movement it is open to a specific temporality that we call the "time of criticism". This time signifies that writing is a process within which reading is defered and always put off in re-writing. The mean of that "defering time" is the other critics texts taken as a mediation to the text, and also, the "ressassement" through which blanchot, repeatingly, focuses on and displaces the same figures, problematics and privileged authors. This specific time of critical writing shows an evolution in blanchot's non fictional work aswell. When blanchot writes in fragments it is a moment which may be seen as a crisis and, at the same time, a renewal of the critical relation. What is at stake in that moment? the reconstitution, trough the ordeal of disaster, of the subject of writing which has been broken up. In that recovery of the subject, the self can only be thought in relation with the other. The relation with the other was inscribed from the beginning in the critical relation and its paradox should be understood according to blanchot's thinking of friendship an community : a relation that does not relate. This is the signification of the torment which inhabitates his critical writings. The impossibility of beeing in relation is sustained in the writing of/to the other writer
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Sumiyoshi, Ken. "Maurice Blanchot et son écriture." Thesis, Université Clermont Auvergne (2017-2020), 2019. http://www.theses.fr/2019CLFAL014.
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C’est l’inspiration qui nous incite essentiellement à la parole. Mais l’homme, avant l’acte d’écrire/parler et au moment de l’acte ou après l’acte, est-il identique ? Si le sujet de l’acte pourrait y répondre positivement, nous le contestons. A quel moment arrive donc à l’homme une fissure d’identité ? Nous montrons qu’elle lui arrive au moment de l’inspiration. A l’aube de la philosophie, Platon suppose l’identité entre ce que l’inspiration demande à l’homme de mettre en mots et les mots qu’il lui confère. Le dualisme platonicien du monde sensible et de celui suprasensible est connu, mais cette structure qui envisage l’idée en tant que but final est, comme le détecte correctement Nietzsche, elle-même motivée par l’idée. Cette dernière, en tant qu’inspiration, déclenche et guide le mouvement platonicien vers elle. Située au commencement aussi bien qu’à la fin, elle est identique, et Hegel et Heidegger sont dans la même lignée. C’est contre et dans cette identité qui constitue un cercle, que nous introduisons une différence ou une altérité, et cela notamment par l’idée d’immédiat. L’inspiration, lorsqu’elle nous arrive, n’y reste pas ; aussitôt apparue, elle disparaît immédiatement et en même temps. Elle ne reste pas pour nous guider vers elle mais ne fait que passer, ce qui revient à signifier qu’elle ne nous montre pas sa présence directrice, mais son absence. D’où que, si l’homme croit donner ses mots à ce que l’inspiration lui murmure sans langage, il les donne en réalité à la trace de l’inspiration ou à l’absence de l’inspiration. Par les mots, il n’incarne pas l’inspiration mais il en forme une image, et l’une des plus grandes problématiques est que Platon, Hegel et Heidegger prennent l’image comme inspiration, ils prennent l’absence de quelque chose comme sa présence, sans différence ni altérité. Cette homogénéisation de l’une et de l’autre qui sont en réalité différentes l’une de l’autre, ainsi que l’identité à laquelle elle aboutit, sont dues à la puissance magique de l’image dont il n’est pas facile de se rendre compte.Mais, par l’idée de différence et d’altérité, ne pourrait-on pas dire que commence alors quelque chose d’autre que l’inspiration, c’est-à-dire quelque chose de nouveau ? C’est le cas de la pensée de Levinas. Et pourtant, le juif, dont nous découvrons que la pensée consiste à étendre la spécificité de l’inspiration d’un instant à tous les instants, prépare une radicalisation blanchotienne de l’absence. C’est par le langage que se réalise cette radicalisation. Le langage n’est pas une série de mots munis de sens cohérents, mais il est avant tout une série de phonèmes et de lettres. D’ailleurs, cette série n’est pas une continuité : lorsque chaque phonème, par son immédiateté, disparaît en même temps qu’il apparaît, il est totalement indifférent de ce qui le précède et de ce qui le suit. Il rompt tout rapport avec les autres au niveau spatio-temporel, ce qui fait de la série de phonèmes une continuité du discontinu. Ainsi, ce que l’homme obtient par le langage, est-ce non une totalité langagière constituant une signification, mais un ensemble d’inspirations disparues à chaque moment, à savoir un ensemble d’images qui n’ont aucun rapport les unes avec les autres. Notre recherche nous mènera alors à répondre à la question de savoir si l’homme, avant l’acte d’écrire/parler et au moment de l’acte ou après l’acte, est identique. Nous y répondons négativement, non que le langage confère une nouvelle identité à un homme, mais qu’il lui échappe à chaque instant, c’est-à-dire qu’il ne s’est jamais agi d’une identité quelconque, sauf d’une identité basée sur une image fallacieusement continuelleIt is the inspiration that encourages us essentially to speech. But, is the man, before the act of writing / talking and at the time of the act or after the act, identical? If the subject of the act could answer positively, we dispute it. At which moment does a fissure of identity happen to the man? We show that it arrives at him at the time of the inspiration. At the dawn of philosophy, Plato assumes the identity between what inspiration asks the man to put into words and the words he confers on it. Platonic Dualism of the sensitive world and supersensible is known, but this structure that considers the idea as a final goal is, as Nietzsche correctly detects, itself motivated by the idea. The idea, as inspiration, triggers and guides the Platonic movement towards it. Located at the beginning as well as at the end, it is identical, and Hegel and Heidegger are in the same line. It is against and in this identity which constitutes a circle, that we introduce a difference or an alterity, and this in particular by the idea of immediate. Inspiration, when it comes to us, doesn’t stay; immediately appeared, it disappears immediately and at the same time. It does not remain to guide us towards it but it only passes, which means that it does not show us its presence but its absence. If the man believes to give his words to what inspiration whispers to him without language, he actually gives them to the trace of inspiration or to the absence of inspiration. By the words, he does not embody the inspiration but forms an image of the inspiration, and one of the biggest problems is that Plato, Hegel and Heidegger take the image as inspiration; they take the absence of something like its presence, without differences or otherness. This homogenization of one and the other which are actually different from each other, as well as the identity to which it ends, are due to the magical power of the image it is not easy to realize.But, by the idea of difference and otherness, couldn’t we say that something else begins that inspiration, namely something new? This is the case of Levinas's thought. And yet, the Jew, whose thought is to extend the specificity of the inspiration at a moment to all the moments, prepares a Blanchot’s radicalization of the absence. It is through the language that this radicalization is realized. Language is not a series of words with consistent meaning, but it is above all a series of phonemes and letters. Moreover, this series is not continuity: when each phoneme, by its immediacy, disappears at the same time as it appears, it is totally indifferent to what precedes it and what follows it. It breaks any relation to others at the spatial-temporal level, which means that the series of phonemes is a continuity of the discontinuous. Thus, what man gets through language is not an entity language with significance, but an entity of missing inspirations at every moment, namely an entity of images that have no relations with each other. Our research will then lead us to answer the question of whether the man, before the act of writing / talking and at the time of the act or after the act, is identical. We answer negatively, not that the language confers a new identity to a man, but that it escapes at every moment, that is to say that it has never been any identity, except an identity based on a falsely continuous image
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Majorel, Jérémie. "Chiasmes : Blanchot, herméneutique et déconstruction." Paris 7, 2010. http://www.theses.fr/2010PA070082.
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L'œuvre de Blanchot permet de remettre en cause les barrières théoriques entre l'herméneutique et la déconstruction. Dans un premier temps, nous avons montré que lorsqu'ils tentent de lire Blanchot, en un chiasme singulier, l'herméneute tend à devenir déconstructeur et le déconstructeur tend à devenir hermeneute. Ensuite, nous avons proposé une interprétation de la quasi-totalité des romans et des récits de Blanchot. Il apparaît que l'œuvre narrative de Blanchot apporte une contribution fondamentale à la transformation du roman en récit, à la fois proche et différente de celle qu'opéraient dans le même temps Bataille, Duras, Des Forêts, Beckett, Laporte. . . Les récits de Blanchot, a priori très abstraits, parlent de manière inédite d'expériences concrètes et fondamentales : la peau, le regard, le deuil, la hantise, la folie et la communauté. Enfin, dans le volet critique de son œuvre, nous avons montré que le chiasme plus ou moins subi par les lecteurs des récits est mis en pratique par Blanchot lui-même. Avant que la déconstruction proprement dite n'apparaisse, Blanchot utilise des procédures herméneutiques (allégorie, symbole, métaphore, distinction entre sens apparent et sens caché et recherche du centre d'une œuvre), d'une façon telle qu'il ne s'intéresse qu'au moment précis où ces procédures sont brisées par l'œuvre commentée, libérant un champ nouveau pour un exercice du commentaire qui rechercherait la prolifération des simulacres, la présence absence de l'image, la théâtralité de l'espace textuel, la pluralité idiomatique des langues et la dérive syntaxique des mots sans butée dernièreThe work of Blanchot makes it possible to call into question the theoretical barriers between the hermeneutics and the deconstruction. Initially, we showed that when they try to read Blanchot, in a singular chiasme, the hermeneute tends to becoming deconstructor and the deconstructor tends to becoming hermeneute. Then, vve proposed an interpretation of the near total of the novels and accounts of Blanchot. It appears that the narrative work of Blanchot contributes a fundamental share to the transformation of the novel into account, at the same time near and different from that which operated in same time Bataille, Duras, Des Forêts, Beckett, Laporte. . . Accounts of Blanchot, a priori very abstract, speak in a new way of concrete and fundamental experiments: skin, the glance, mourning, obsession, the madness and community. Lastly, in the critical shutter of its work, we showed that the chiasme more or less undergone by the readers of the accounts is put in practice by Blanchot itself. Before the deconstruction itself does not appear, Blanchot uses procedures hermeneutics (allegory, symbol, metaphor, distinction between apparent and hidden sense and seek center of a work), of a way such as it is interested only in the precise moment where these procedures are broken by vvork with accompanying notes, releasing a new field for ; exercise of the comment which would seek the proliferation of the shows, the absence presence of the image, the theatricalness of textual space, the plurality idiomatic of the languages and the syntactic drift of the words without last thrust
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Fueri, Eliane. "Pensées de l'extériorité : Levinas Blanchot." Nice, 1997. http://www.theses.fr/1997NICE2003.
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Levinas rompt avec la tradition philosophique occidentale dominée par la question de l'être, fondée sur l'ego cogito comme origine de la connaissance dans le présent de l'évidence. Il exprime que la philosophie première n'est pas l'ontologie, la phénoménologie, mais l'éthique. Des lors, la pensée vise ce qui la déborde, l'extériorité absolue : l'infini, le visage, dieu. Le retrait de la présence commun à Blanchot et Levinas, laisse surgir une pensée de la trace - chez blanchot l'"effroyablement ancien", le "désastre" - qui exprime un passé immémorial. Les notions en rapport d'analogie de Levinas à Blanchot : l'infini, la trace, le neutre, le désastre, l'"effroyablement ancien" ont trait à l'impensable, à l'extériorité entendue comme ce qui déborde la sphère de la conscience. Ces termes se comprennent dans leur éloignement du mot être et de la possibilité d'un présent. L'"effroyablement ancien" en rapport chez Blanchot avec le mouvement de l'éternel retour dérobe le présent, substitue à l'être la force dont l'intimité est extériorité, jeux de libres intensités constituant l'espace du dehors. L'écriture de Blanchot exprime ce mouvement vers l'extériorité disant l'obscur sans le mettre à découvertLevinas makes a clean break from the western philosophical tradition centered around the question of being and based on the concept of ego cogito as the origins of knowledge within the present of the evidence. It is his contention that philosophy begins with ethics and not ontology and phenomenology. From then on, reflection takes aim at that which overflows it. I. E. , absolute exteriority (infinity, face, god). From the common retreat from presence in both Blanchot's and Levinas philosophies emerges the concept of the trace. For Blanchot, this is the "effroyablement ancien" (frighteningly ancient), and the "disaster" which testifies to an immemorial past. Some analogous notions from Levinas to Blanchot, i. E. , infinity, trace, neutrality, disaster, "effroyablement ancient" (frighteningly ancient), relate to the unthinkable, and to exteriority understood as that which exceeds the realm of consciousness. These terms are understood in their distance from the word being and the possibility of the present. The "effroyablement ancien" (frighteningly ancient) in blanchot's philosophy is connected to the cycle of the "eternal return", erases the notion of present time, and subsitutes for being a force whose intimacy is exteriority - a game of free forces constitutive of exterior space
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Langstaff, Holly. "Maurice Blanchot : art and technology." Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/101267/.
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Maurice Blanchot (1907-2003), writer of fiction, literary critic, political journalist and thinker, is one of the most influential figures in twentieth-century literature and thought. The relationship between art and technology is a largely unexplored aspect of Blanchot’s writing; this thesis examines his engagement with the question of techne in criticism and fiction over a fifty-year period and demonstrates that he is far from subscribing to the technophobia of probably the most influential thinker of technology, Martin Heidegger. It is argued that writing for Blanchot is a mode of techne which destabilises the opposition between nature and culture, or nature and technology, or nature and history, and provides a means of thinking other than the anthropos. The chronological approach of this thesis stresses how a thinking of writing as techne radicalises over time and indicates the enduring influence of Blanchot. The first chapter considers the treatment of the division, often taken for granted by critics, between literary and everyday language; focussing on Blanchot’s reading of Mallarmé in essays dating from 1940 to 1952, this chapter reveals a shift in his thinking of literature from autonomy to radical non-essentiality. The second chapter examines Blanchot’s critical engagement with Heidegger in essays written in 1953 and shows how we might reconcile Blanchot’s work with ecological thought. A third chapter focuses on the discussion of modern technologies in essays from the 1950s and 1960s and the coincidental emergence of the non-concept of the neuter in literature and criticism; it listens to various apocalyptic tones in work from this period to reveal a continuity between the experience of the technological and of the imaginary. The final chapter explores how ‘technique’ is everywhere implied once the term disappears from Blanchot’s idiom; it argues that fragmentary writing is that techne which outplays the human.
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Chaix-Bryan, Thibaut. "L’expérience fragmentaire Kafka - Blanchot - Celan." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030094.
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L’œuvre fictionnelle et critique de Maurice Blanchot entretient des rapports intenses avec la philosophie et la littérature allemande. Alors que la relation de Blanchot à la philosophie allemande a été largement étudiée, la thèse suivante porte sur son rapport à « l’espace littéraire »allemand – beaucoup moins analysé – et en particulier sur le « genre » fragmentaire qui fonde toute l’œuvre blanchotienne. Après un bref retour sur cette notion polysémique et complexe, on découvre dans les différents chapitres les empreintes profondes laissées par Franz Kafka et Paul Celan dans l’œuvre de Blanchot autour de cette « expérience du fragmentaire » vécue par les trois auteurs selon des modalités différentes.La première partie expose les liens qui unissent les trois auteurs afin d’explorer dans la deuxième partie les caractéristiques communes aux trois écritures fragmentaires. L’exil, la rupture imposée par la Shoah, la lecture comme processus de fragmentation, le rapport entre inconscient et écriture fragmentaire, l’esthétique du blanc et du vide, qui habite ces écritures, sont quelques uns des axes principaux de cette étude. Un des apports de cette recherche est la redéfinition du fragmentaire comme « style » à part entière. De plus, l’ensemble du travail est enrichi d’annexes regroupant notamment des manuscrits de Blanchot qui permettront au lecteur de saisir cette expérience à l’œuvreBoth fictionnal and critical works of Maurice Blanchot have intense relations with the germanliterature and philosophy. But, whereas Maurice Blanchot’s relation to the german philosophy hasbeen widely studied, the following thesis cares about the german « literary space » – far lessanalysed – and more particularly about the fragmentary « genre » that structures the whole of Blanchot’s work. After briefly going back on this complex and polysemous notion, we discoverthrough the different chapters the deep imprints that both Franz Kafka and Paul Celan left onBlanchot’s work around this « fragmentary experience », which the three authors each livedaccording to different modalities.The first part of the work shows the links uniting the various authors so as to explore in the secondpart the common features to the three fragmentary writings. Among the various axis of this studyare the notion of exile, the breaking imposed by the Shoah, the experience of reading as a processof fragmentation, the relation between unconsciounesss and fragmentary writing, the aesthetics ofwhite and emptiness present in the works. One of the contributions of this research is that itredefines the fragmentary genre as a full-fledged style. Further more, the whole of the work is enhanced by annexes bringing together in particular some of Blanchot’s manuscripts. These willhelp the reader understanding this experience in process
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Davies, Paul. "Experience and distance : Heidegger, Blanchot, Levinas." Thesis, University of Sussex, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328614.
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Park, Kyou-Hyone. "La folie d'écrire chez Maurice Blanchot." Paris 8, 2000. http://www.theses.fr/2000PA081758.
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Dans l'ecriture du desastre, ce qu'on veut saisir par le mouvement d'ecrire n'est pas la continuite du mouvement, mais le moment de defaillance, de rupture au centre de l'ecriture en constatant l'absence de centre, d'origine. C'est le propre de la folie d'ecrire de se produire dans l'ecriture meme. Par la, ce qui nous met, nous lecteurs, en difficulte de saisir sa pensee, est que la pensee blanchotienne figuree dans son ecriture est situee a un point ou l'ecriture s'annule. Il faut noter que le << ne pas ecrire >> n'est pas un simple arret d'ecriture mais la rencontre avec le << deja ecrire >> qui est en train d'ecrire encore, autrement dit, avec ce qui envahit l'ecriture de l'ecrivain. Ecrire << ce qui a deja ete ecrit >> renvoie ecrire a la << defaillance >>, et a partir de la, l'ecriture devient un jeu. L'ecriture blanchotienne est la recherche interminable de l'etablissement d'un rapport avec le dehors ou s'abrite le lointain passe. C'est a partir de ce probleme du rapport avec le passe anterieur que nous examinons le moment ou l'ecriture rejoint la lecture qui la precede. Pour la jointure du passe anterieur, nous soulignons la necessite de la disparition du sujet pour qu'il y ait un espace vide. L'espace du poeme s'instaure dans cet espace vacant. Lorsque blanchot dit que la lecture est << liberte, non pas liberte qui donne l'etre ou le saisit, mais liberte qui accueille, consent, dit oui, ne peut que dire oui >> et que, << dans cet espace ouvert par ce oui, laisse s'affirmer la decision bouleversante de l'oeuvre, l'affirmation qu'elle est - et rien de plus >>, la lecture consiste a dire l'interpretation, << a disparaitre devant la pure affirmation du poeme >>. C'est la decouverte de l'essence de la poesie. La lecture devenu l'ecriture doit creer un espace vide pour que << le rythme, toujours en relation avec l'origine furieuse >> puisse etre sauvegarde. En effet, la lecture blanchotienne n'est pas seulement l'interpretation du sens du texte, mais sa critique qui va de pair avec << l'infinite poetique >> de l'oeuvre en creusant l'espace de resonnance du rythme.
Books on the topic "Blanchot"
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1950-, Holland Michael, ed. The Blanchot reader, Maurice Blanchot. Oxford, UK: Blackwell, 1995.
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Maurice, Blanchot, ed. Maurice Blanchot. Paris: l'Herne Editions, 2014.
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1963-, Large William, ed. Maurice Blanchot. London: Routledge, 2001.
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1926-1984, Foucault Michel, and Blanchot Maurice, eds. Foucault, Blanchot. New York: Zone Books, 1987.
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Maurice Blanchot. Paris: L'Oeil de boeuf, 1998.
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Blanchot, extreme contemporary. London: Routledge, 1997.
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Jacques, Derrida. Demeure: Maurice Blanchot. Paris: Galilée, 1998.
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Wilhem, Daniel. Maurice Blanchot, intrigues littéraires. [Paris]: Lignes-Manifestes, 2005.
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Maurice, Blanchot, ed. Blanchot et la philosophie. Nanterre: Presses universitaires de Paris ouest, 2010.
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Laporte, Roger. Maurice Blanchot: L'ancien, l'effroyablement. Montpellier: Fata Morgana, 1987.
Find full textBook chapters on the topic "Blanchot"
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Davies, Paul. "Blanchot." In A Companion to Continental Philosophy, 304–18. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405164542.ch25.
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Wild, Gerhard. "Blanchot, Maurice." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_2768-1.
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Ungar, Steven. "Blanchot, Maurice." In Encyclopedia of Contemporary Literary Theory, edited by Irena Makaryk, 253–55. Toronto: University of Toronto Press, 1993. http://dx.doi.org/10.3138/9781442674417-066.
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Bident, Christophe. "The Passion of Silence." In Maurice Blanchot, 219–24. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0032.
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Addresses Blanchot’s relationship with Denise Rollin, on the basis of unpublished correspondence. This provides another depiction of Blanchot, from a different angle than that of his published writings.
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Evans, Jonathan. "Blanchot and Affinity." In The Many Voices of Lydia Davis. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474400176.003.0002.
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This chapter focuses on Davis’s literary relationship with Maurice Blanchot. She began translating Blanchot early on in her career and some of her stories can be seen to respond to his work. The chapter first focuses on Davis’s translation of Death Sentence and her approach to the translation, which it argues is the beginning of her own translation style and which shows a respect for the source author. The second half of the chapter analyses Davis’s story ‘Story’ and Blanchot’s ‘The Madness of the Day’. It is argued that Davis’s ‘Story’ offers a response to Blanchot’s récit, recreating the indeterminacy of the narrative while addressing the emotional concerns of the protagonist. Translation and story both serve as forms of response to Blanchot’s work.
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Bident, Christophe. "Night Freely Recircled, Which Plays Us." In Maurice Blanchot, 111–18. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0018.
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Looks at Blanchot’s first novel Thomas the Obscure, including its long genesis throughout the 1930s. The influence of various writers on the novel is evaluated, and the characteristics and importance of fiction for Blanchot are discussed.
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Bident, Christophe. "Writers Who Have Given Too Much to the Present." In Maurice Blanchot, 170–77. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823281763.003.0025.
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Investigates Blanchot’s relationship with Jean Paulhan, at an early stage in his career as a literary critic. Relevant work by Blanchot includes several articles, a first critical book, and collaboration on the Nouvelle Revue Française, a journal.
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Mehlman, Jeffrey. "Of Sade, Blanchot, and the French Twentieth Century." In Being Contemporary, 97–106. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382639.003.0007.
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‘Of Sade, Blanchot, and the French Twentieth Century: Thoughts at Columbia’, written by Jeffrey Mehlman, retraces the peregrinations of Maurice Blanchot and considers his relevance today. The essay’s attention to authors’ reading (Blanchot’s readings of Sade and Duras; Marty’s readings, in turn, of Blanchot and Genet) underscores the critical valences of rereading as a contemporary practice.
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Nancy, Jean-Luc. "The Consumed Community." In The Disavowed Community. Fordham University Press, 2016. http://dx.doi.org/10.5422/fordham/9780823273843.003.0004.
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In the fourth chapter, Nancy extends the exchange with Blanchot with references to literature, in this case to Marguerite Duras’s The Malady of Death, a text that Blanchot reads in light of Emmanuel Levinas and the question of an ethical relation. He refers to the events of May ’68 in terms of rethinking questions of community and the relation of such a community to other political forms. Nancy discusses Blanchot’s proposal for an “unsociable sociality” or “anti-social society,” which Nancy relates to the concept of the people, who at once dissolves and reinvents the bond of the law and of the relation. The argument also opens toward the religious references in Blanchot’s The Unavowable Community (including the Eucharist): the proposal to think “a community of lovers,” and to the various female figures that emerge in Blanchot’s text
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"Blanchot / Bataille." In On Contemporaneity, after Agamben, 33–42. Liverpool University Press, 2020. http://dx.doi.org/10.2307/j.ctv3029rqm.8.
Full textConference papers on the topic "Blanchot"
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Lanno, Régis. "Maurice Blanchot à L’Insurgé." In Les écrivains théoriciens de la littérature (1920-1945). Fabula, 2013. http://dx.doi.org/10.58282/colloques.1821.
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Majorel, Jérémie. "Le Goethe de Blanchot." In Goethe, le mythe et la science. Regards croisés dans les littératures européennes. Fabula, 2019. http://dx.doi.org/10.58282/colloques.6203.
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Bissonnette-Lavoie, Olivier. "Révolution et désidentification : exploration critique de la communauté sans identité à partir des écrits de Maurice Blanchot et du Comité d’action étudiants-écrivains." In La littérature contemporaine au collectif. Fabula, 2020. http://dx.doi.org/10.58282/colloques.6685.
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Alexopoulou, A. "Τhe poetics of the glance in the novels of F. Dostoyevsky, M. Blanchot, A. Terzakis: from its persecutive rance to the void of meaning." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_110.
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De Marco, Paolo, and Antonino Margagliotta. "Blanco al cuadrado. Arquitectura blanca en hormigón blanco." In 9º Congreso Internacional de Arquitectura Blanca - CIAB 9. València: Editorial Universitat Politècnica de València, 2020. http://dx.doi.org/10.4995/ciab9.2020.10663.
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El color blanco en la arquitectura tiene una dimensión particular por razones técnico-funcionales, sensoriales y, sobre todo, espaciales. En él residen los valores simbólicos que con el tiempo han determinado una especie de mito - con orígenes antiguos e inciertos, pero presente hasta la contemporaneidad. El uso del hormigón visto permite construir edificios intrínsecamente blancos, con la posibilidad de obtener construcciones monomateriales y monocromáticas. A lo largo del siglo XX, y aún hoy, las características mecánicas del hormigón blanco se han implementado continuamente y sus modalidades de empleo se han expandido no solo en las capacidades de rendimiento sino también en el campo estético y formal. A raíz de algunas experiencias pioneras de la segunda mitad del siglo XX, en la escena contemporánea destacan algunas realizaciones, en este sentido doblemente blancas, que nos permiten reconocer las diferentes naturalezas del hormigón blanco y, en particular, que nos hacen identificar técnicas diferentes y específicas de concepción del espacio y de metodología del proyecto. El uso del hormigón blanco hoy responde a la búsqueda de la perfección del material puro y noble, que recupera los valores fundamentales de la arquitectura y da forma a un diálogo innovado entre firmitasy venustas.
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Fernández López, Carlos. "Pintura en la doblez: De la Cruz y el pliegue antropométrico." In V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València: Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15475.
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Esta propuesta trata de explorar y entender el presente de los recursos y mecanismos de formalización pictórica contemporáneos inspirados en el pliegue. Revisando el conocimiento adquirido en las diferentes experiencias artísticas en la historia reciente, analizaremos sus soluciones morfológicas y cómo se manifiestan en la actualidad, tomando de ejemplo la pintura de la coruñesa Ángela De la Cruz. ¿Qué papel tiene el pliegue en la pintura actual? Comprobaremos cómo se aplican pictóricamente las potencialidades del pliegue: las dobleces del cuerpo, la teoría de las supercuerdas, los repliegues de la materia sobre los que habla Deleuze... El término “pliegue” abarca una gran variedad de definiciones y aplicaciones en la pintura, desde el tríptico renacentista de Van Eyck, hasta las fisuras vanguardistas en el soporte de Lucio Fontana. Cuando hablamos de pliegues, también hablamos de enrollamientos, bucles, contorsionismos, nudos... Deleuze recupera la idea leibniziana que defendía que todo se encuentra plegado en el universo. Lo que distingue cada uno de estos elementos presentes en el mundo es el modo en el que se encuentra plegado. La arruga, la huella dactilar, las líneas de la mano nos distinguen. El pliegue es aquello que particulariza. Todos los espacios nuevos que crea la misma doblez en el soporte pictórico, las nuevas geometrías y cualidades inéditas. Entenderemos que muchas de las soluciones de la pintura expandida tienen que ver con metáforas antropomórficas. Así, relacionaremos esta doblez en el soporte pictórico con la piel del cuerpo humano. En los pliegues antropométricos de Ángela De la Cruz vemos el reflejo de una visión contemporánea necesaria en nuestro contexto histórico y cultural. Revisitando la obra de filósofos como Byung-Chul Han o Blanchot, comprobaremos como estas dinámicas son la representación (y presentación) de una sociedad que necesita escapar de lo antinatural del bidimiensional, de lo impuro del plano.
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Gray, Marc-André. "Nuit Blanche." In ACM SIGGRAPH 2010 Computer Animation Fesitval. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836623.1836678.
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Gray, Marc-André. "Nuit Blanche." In SIGGRAPH '10: Special Interest Group on Computer Graphics and Interactive Techniques Conference. New York, NY, USA: ACM, 2010. http://dx.doi.org/10.1145/1834518.1834520.
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Tolstorebrov, Ignat, Trygve Magne Eikevik, Inna Petrova, Yulia Shokina, and Michael Bantle. "Investigation of influence of pre-treatment and low-temperature on drying kinetics, sorption properties, shrinkage and color of brown seaweeds (Saccharina Latissima)." In 21st International Drying Symposium. Valencia: Universitat Politècnica València, 2018. http://dx.doi.org/10.4995/ids2018.2018.7694.
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Drying kinetics of Saccharina latissima (raw and blanched) at low temperatures (10.0, 25.0 and 38.0 °C) was studied. The effective moisture diffusivity coefficient varied due to temperature alterations in the range between 1.4 and 4.5 10-10 m2/s for raw and 0.91 and 2.56 10-10 m2/s for blanched seaweeds. Significant changes in structural properties and chemical composition resulted in a much longer drying time of blanched seaweeds, when compared with raw. Drying temperature of 38.0 °C resulted in more brown color, when compared with other samples. Sorption characteristics of dried raw seaweeds depended on salt content and showed high accumulation of moisture at relative humidity of air of 80.0 %. The blanched seaweeds showed linear accumulation of moisture within increasing of relative humidity of drying air from 20.0 to 80.0 %, but high level of hysteresis was determined between sorption and desorption isotherms. The shrinkage development within dewatering of blanched and raw samples was also studied. Keywords: brown seaweeds, drying kinetics, sorption isotherms, color
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Manoukian, Arev, Stephanie Swedlove, and Arev Manoukian. "Making of "Nuit Blanche"." In ACM SIGGRAPH ASIA 2010 Computer Animation Festival. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1900264.1900295.
Full textReports on the topic "Blanchot"
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van Staal, C. R., S. Lin, L. Hall, D. Schofield, P. Valverde, and M. Genkin. Geology, Rose Blanche, Newfoundland. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 1996. http://dx.doi.org/10.4095/208186.
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Binder, Gary A. Dark Energy Camera for Blanco. Office of Scientific and Technical Information (OSTI), August 2010. http://dx.doi.org/10.2172/992943.
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Carabili, Arturo, Doris Elisa Canacual, and Miyerlandi Montes. Manejo de plagas y enfermedades: ácaros. Corporación colombiana de investigación agropecuaria - AGROSAVIA, 2022. http://dx.doi.org/10.21930/agrosavia.infografia.2022.56.
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Rochel Ortega, Elizabeth, Jefersson Andrés Rodríguez Blandón, Pedro David Suárez Villota, Jorge Andrés Castillo, and Yeirme Yaneth Jaimes Suárez. Manejo fitosanitario: Phythoptora. Corporación colombiana de investigación agropecuaria - AGROSAVIA, 2021. http://dx.doi.org/10.21930/agrosavia.infografia.2021.6.
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En frutos, los primeros síntomas se presentan como pequeñas manchas de color oscuro sobre los tejidos. Los signos aparecen de tres a cinco días después de los primeros síntomas. Aparición de esporangios y un micelio pulverulento blanco.
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Lu, Xiaowei. Universalidad y particularidad del término cromático chino bai ‘blanco’. Edicions i Publicacions de la Universitat de Lleida, 2024. http://dx.doi.org/10.21001/sintagma.2024.36.03.
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Rozo, Esteban, Ana Guglielmucci, and Magda Páez Torres. El derecho a la memoria. Universidad del Rosario, October 2022. http://dx.doi.org/10.12804/dvcn_10336.36801_num6.
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Ad portas de cumplirse seis años de la firma del Acuerdo de Paz con las Farc, en Colombia sigue en vilo la constitución del Museo de Memoria de Colombia que ha sido blanco de disputas políticas y de una serie de trabas que han causado malestar entre las víctimas. Así lo registra un análisis investigativo de la Universidad del Rosario.
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Htun, Mala. Dimensiones de la inclusión y exclusión política en Brasil: Género y raza. Inter-American Development Bank, December 2003. http://dx.doi.org/10.18235/0009787.
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El presente documento analiza la inclusión política de las mujeres y de afrodescendientes en Brasil. Con una de las sociedades más desiguales del mundo, Brasil es un país que está estratificado por género, raza y origen étnico, tanto en la esfera política, como en otras esferas. Si bien las mujeres han obtenido significativos logros en las décadas recientes, la brecha social entre blancos y negros se ha mantenido relativamente constante, lo cual se refleja en los sistemas de participación política.
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Turner, B., M. Quat, R. Debicki, and P. Thurston. Killarney : les fameuses montagnes blanches et côtes de granite rose du Bouclier canadien. Natural Resources Canada/CMSS/Information Management, 2015. http://dx.doi.org/10.4095/329911.
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Author, Not Given. 2018 Long-Term Hydrologic Monitoring Program for Rio Blanco, Colorado, Site. Office of Scientific and Technical Information (OSTI), November 2019. http://dx.doi.org/10.2172/1638371.
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Clay Cooper and Craig Shirley. Letter Report: Rio Blanco Sampling of Proximate Producing Natural Gas Wells. Office of Scientific and Technical Information (OSTI), April 2004. http://dx.doi.org/10.2172/828110.
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