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‘The dead dancer’s DDI’: Hervé Guibert, remedy, contaminant, and getting it down
Textual Practice Pub Date : 2021-07-28 , DOI: 10.1080/0950236x.2021.1953801
Brian Blanchfield 1
Affiliation  

ABSTRACT

This essay examines, and associates with the techniques of his North American New Narrative contemporaries, two principal qualities of Hervé Guibert’s last three books of lifewriting that chronicle his final years (1989–1991) with AIDS and its rumored remedies. I study the ways in which Guibert’s autobiographical narrator habitually marks time in each book—particularly the terminal interval of its composition—and frustrates distinction between text and author, whose viability is likewise tracked and measured in HIV latency periods, Tcell drawdown, and eligibility thresholds for experimental drug trials. I contextualize Guibert’s related narrative practice to enact betrayal of friends’ and lovers’ confidences, in a health economy of deceit and favor and double-blind protocols, within the traditions of transgressive literature, which crosses boundaries to enlist reader complicity or rejection in a social—and not merely literary—arena. Guibert’s methods in the autofiction and autobiographical books that share his own hastening terminality and repercussive social potency are consistent, I suggest, with the artistic objective that American New Narrative writer Robert Glück has claimed he sites in Guibert, “to approximate the irreversibility of a performance—something you can’t take back.



中文翻译:

'死舞者的 DDI':Hervé Guibert,补救措施,污染物,并把它弄下来

摘要

这篇文章考察了与他的北美新叙事同时代人的技巧,并结合了 Hervé Guibert 的最后三本书的两个主要品质,这些书记录了他与艾滋病及其传闻疗法有关的最后岁月(1989-1991)。我研究了 Guibert 的自传叙述者习惯性地在每本书中标记时间的方式——特别是其组成的终止间隔——并挫败了文本和作者之间的区别,其可行性同样在 HIV 潜伏期、Tcell 下降和资格阈值中被跟踪和衡量用于实验性药物试验。我将 Guibert 的相关叙事实践置于语境中,以在欺诈和恩惠和双盲协议的健康经济中,在违规文学的传统中,背叛朋友和恋人的信任,它跨越了界限,在社会——而不仅仅是文学——领域吸引了读者的同谋或拒绝。我认为,吉伯特在自传和自传书中的方法与美国新叙事作家罗伯特·格吕克声称他在吉伯特的艺术目标是一致的,“以接近表演的不可逆转性” ——无法收回的东西。

更新日期:2021-08-04
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