Maurice Blanchot was a French writer, philosopher, and literary theorist. His work had a strong . Thomas l’Obscur, (Thomas the Obscure); Aminadab, ; L’Arrêt de mort, (Death Sentence); Le Très-Haut, (The Most High). Nevertheless, how can one in good conscious reduce a text by Blanchot to a How can one put forth an interpretation of Thomas the Obscure that avoids. Thomas the Obscure. Maurice Blanchot and Robert Lamberton (Translator). Before Sartre, before Beckett, before Robbe-Grillet, Maurice Blanchot created the .

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His psychosis is evident in his abjection of the self as his gaze sees the self as nihilated. Just a moment while we sign you in to your Goodreads account.

After surviving his unsettling experiences with tbe sea and the forest, Thomas returns to the hotel. The cat flees the dream scene when Thomas mimics cat-like behaviour scratching the ground on all fours when he re-enters the graveyard scene.

Maurice Blanchot

Solitude’s enemy of the unseen faces living in its blacknesses. Retrieved 1 August The fear of facing a double drives his thoughts to suicide. The immediate experience is repetitiously carried over into inauthentic accounts of secondary reflections enveloped in signs signifying non-lived encounters. The cat fears absolute loss seen in terms of the Hegelian notion of death as it sees something that it is not. It appears formally complicated from exterior, but does it really correspond to anything meaningful?

The Philosophic History of Melancholy. His encounter with an uncanny double manifested itself as a trangressive gaze that inverted itself in the face of presence seen as absence. Thought awakening to the presence of the Outside tears his consciousness apart as it separates his being from the symbolic register and all other objects facing his split gaze.

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With this approach in mind, the so-called death of the author, I have attempted to claim Blanchot’s text as my own. This recit is truly an event, an experience, to be returned to and re-experienced ever and again. Oxford University Press, However, this book provides him with little respite. He becomes aware of the space that defines identity seen in the strange space Outside.

His thought becomes suspended from the immediate experience as the boundaries that defy the imaginary and the lived encounter are blurred by time and space.

Elle est fulgurante, pourtant on la voit arriver comme au ralenti. Vintage,p.


The technique has an unusual effect. For the Chablis grand cru vineyard, see Chablis wine. The imagery showing Hlanchot tearing out the eyes of the wild beast shows an inability to overcome the thought of separation from the original lost thing the m other. New York Station Hill Press, Written between andBlanchot’s first novel, here brilliantly translated by Robert Lamberton, contains all the remarkable aspects of his famous and perplexing invention, the ontological narrative–a tale blanchhot subject is the nature of being itself.

But the water mirage on blaanchot disappears. Once inside it does not leave. He faces the loss and recovery of being seen locked in a double bind.

Indianapolis University Press, One wonders what context may or may not have been shaved off as a result, although Blanchot’s steadfast dedication to opacity in his fiction inclines me to tbomas how much more context would be gained through the restoration of the original text.

Next time around, when it returns for the work returns to you, not you to it it will give you so much more, based on what it has previously taken. Skip to main content.

But in Blanchot, there is Dasein with a difference For a fuller explanation of Kabbalah and its interpretive use, see: In part, Blanchot uses the impossibility of death to refer in a metaphorical manner to endless circularity, an endlessness that resembles the absurd fate of Kafka’s K in The Castle and Camus’s Sisyphus in the Myth of Sisyphus. There is no longer a limit to being before the other as the face of the other ushers in the eclipse of infinite alterity.


In it, Blanchot describes how self-reflection emerges from a negative 12 G. Locked between the thing and the image, the dream dreams the dreamer doubled in time.

His thoughts start to turn around upon themselves as his thought imagines his consciousness to be a centre in which to anchor self-identity. Anne reveals a death drive that turns upon itself as she chooses to substitute her identity seen as presence with absence and life with death.

His subversive gaze saw the split self locked in self-exile where there was no exit from self-annihilation.

Language gives the subject a sense of identity in culture through recognition of difference. Freud argues that delusions showing signs of regression are associated with non-fulfilled childhood wishes.

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His desire refuses to wait like the masochist; thus his drive obsdure around upon itself taking on the role of the sadist. His gaze sees the symbol as a death force that, like dying, represses being as he refuses to accept the artifice that is inauthentic. Preview — Thomas the Obscure by Maurice Blanchot. Allan Stoekl, with Carl R. The “obscurity” of Thomas can be attributed to his being the personification of an abstract.