The Vertigos of Coining: ‘Michel Houellebecq’, Or, What Names Remain(s)?

IF 0.2 4区 文学 0 LITERATURE PARAGRAPH Pub Date : 2021-05-20 DOI:10.3366/PARA.2021.0362
James Dutton
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引用次数: 0

Abstract

Writing remains. One could argue that it is precisely because of this uncanny and unpredictable survival that inscription holds an inextricable influence on culture. Deconstructive theory posits this as the ‘biodegradability’ of writing — that culture consumes writing's intended meaning, employing it as fuel for its own survival. In this article, I argue for Michel Houellebecq's awareness of this survival, suggesting that his texts stage their — and their author's — own biodegradability to interweave truth and fiction. Particularly, he utilizes the ‘untranslatability’ of the proper name — its brief resistance to cultural biodegradability — to intercept and write into the future(s) inscription is tied to. This draws attention to the vital paradox of proper names, and suggests that their untranslatability forces every reader to conjure different, contradicting and often ‘out-of-sync’ histories. Houellebecq's names, which necessitate an interminable coining, gesture to the inevitable (re)translation of finitude.
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创作的眩晕:“Michel Houellebecq”,还是,还剩下哪些名字?
写作仍然存在。有人可能会说,正是由于这种不可思议和不可预测的生存,铭文对文化有着不可分割的影响。解构主义理论认为这是写作的“生物可降解性”——文化消耗了写作的本意,将其作为自身生存的燃料。在这篇文章中,我支持Michel Houellebecq对这种生存的意识,认为他的文本展示了它们——以及它们的作者——自己的生物降解性,将真实与虚构交织在一起。特别是,他利用了专有名称的“不可译性”——它对文化生物降解性的短暂抵抗——来拦截和书写与铭文相关的未来。这让人们注意到专有名称的重要悖论,并表明它们的不可翻译性迫使每个读者联想到不同的、相互矛盾的、经常“不同步”的历史。Houellebecq的名字,这需要一个无休止的创造,手势不可避免的(重新)翻译的有限性。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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来源期刊
PARAGRAPH
PARAGRAPH LITERATURE-
CiteScore
0.30
自引率
0.00%
发文量
22
期刊介绍: Founded in 1983, Paragraph is a leading journal in modern critical theory. It publishes essays and review articles in English which explore critical theory in general and its application to literature, other arts and society. Regular special issues by guest editors highlight important themes and figures in modern critical theory.
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