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TEXTOTVORNÉ STRATÉGIE BLANCHOTOVHO RÉCITU „TEMNÝ TOMÁŠ“

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Forgáč M.
World Literature Studies
|
2018
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vol. 10
|
issue 2
51 – 68
EN
Maurice Blanchot’s récit “Thomas the Obscure” has been traditionally interpreted within the context formed by his essays and philosophical works. The underlying interpretive concept of the study, however, calls this interpretive practice into question and argues for the autonomous nature of a récit. Although Blanchot does not change the scope and the topic of his essays and récits, his récit in this case differs from the intention of his essays in terms of a shift in perspective, from which particularly the agony of denoted objects is viewed and depicted. The analysis of text structures employed in “Thomas the Obscure” indicate how the poetics of microscopy was revitalized in Blanchot’s récit. It turns the récit into a specific form of prose, all levels of which represent the indefiniteness, enigmaticality and invisibility of the depicted by various strategies of identification – protocol language, description of details, and concentration of scenes, summarization as well as formal devices and tropics.
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UVAŽOVAŤ S BLANCHOTOM O PRIATEĽSTVE

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Jacquemond O.
Filozofia (Philosophy)
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2009
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vol. 64
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issue 8
748-756
EN
When considering friendship Maurice Blanchot refers to the statement: 'Ah, my friends, there is no friend', ascribed to Aristotle. By Auschwitz it is impossible to look at a friend without certain distrust and the friendship finds its 'true name' in the core of this aporetic tension and invincible contradiction. For Blanchot the 'true name of friendship' is a faceless friendship beyond the notion of friend, which after the holocaust could reintroduce the infinite into our thinking.
3

HRANIČNÁ SKÚSENOSŤ ČÍTANIA: MAURICE BLANCHOT

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Sucharek P.
Filozofia (Philosophy)
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2009
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vol. 64
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issue 8
781-792
EN
Referring to a passage from Blanchot's novel 'Thomas l'Obscure', the paper questions the clear contours between literature and philosophy as disciplines. The point where the clear distinction breaks down is the phenomenon of reading. In a decisive moment of each authentic reading the author tries to introduce a 'phenomenology of reading', in which we ourselves as readers are being transformed to the ones who are read. Light, truth, clarity - all these are notions, which are opposed in Blanchot by passivity, night, and absence. Underlined in particular is the absence of meaning, of any light in perpetuated occidental theoretical discourse, which is nothing more than one's apology of oneself. Not to betray Blanchot means to abandon pure commentaries of his philosophy and to find another ways of its interpretation. Thus the questions of reading, interpretation, and translation might become the questions of life and death. To articulate this alternative approach is one of the aims of the paper.
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INSTITUTION WITH IMPOSSIBILITY. 'THE BOOK OF QUESTIONS', SURREALISM AND THE HOLOCAUST (Naznaczenie niemozliwoscia. 'Ksiega Pytan', surrealizm i Holokaust)

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Kula A.
Teksty Drugie (Second Texts)
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2008
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issue 6(114)
252-263
EN
Reception of 'The Book of Questions', a seven-volume poem by Edmond Jabes, has been primarily set by interpretations of Jacques Derrida and Maurice Blanchot. Is this right, in each case? Especially, in the reading by the author of Différance, a few questions seem worth clarifying or complementing. Questions appear about the unobvious autobiographism of 'The Book of Questions' and about what Jabes says on Holocaust and its place in the Jewish history; about the opposition between the language and the construction of the work; and, about surrealism as an important reference point in the poet's artistic itinerary.
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