莫里斯·布朗肖
Maurice Blanchot (September 22, 1907, Devrouze, Saône-et-Loire – February 20, 2003) was a French writer, philosopher, and literary theorist. His work had a strong influence on later post-structuralist theorists such as Jacques Derrida.
莫里斯·布朗肖（1907年9月22日，德芙洛兹，索恩-卢瓦尔——2003年2月20日），法国作家，哲学家，文论家。其著作对后来的后结构主义理论家（如德里达）有巨大的影响。
王立秋试译自维基百科 http://en.wikipedia.org/wiki/Maurice_Blanchot
Word
一，著作
Blanchot's work is not a coherent, all-encompassing 'theory', since it is a work founded on paradox and impossibility. The thread running through all his writing is the constant engagement with the 'question of literature', a simultaneous enactment and interrogation of the profoundly strange experience of writing. For Blanchot, 'literature begins at the moment when literature becomes a question' (Literature and the Right to Death).
布朗肖的作品并非自洽、封闭的“理论”，因为它基于悖论和不可能性。贯彻布朗肖写作始终的，是“文学问题”——与写作深刻的他异(strange)经验同时出现，由此经验提出的质问——的不断介入。对布朗肖而言，“当文学成为问题的那一刻，才有了文学。”（《文学与死亡的权利》）
Blanchot draws on the work of the symbolist poet Stéphane Mallarmé in formulating his conception of literary language as anti-realist and distinct from everyday experience. Literary language, as double negation, demands that we experience the absence masked by the word as absence; it exposes us to the exteriority of language, an experience akin to the impossibility of death. Blanchot engages with Heidegger on the question of the philosopher's death, showing how literature and death are both experienced as anonymous passivity. Unlike Heidegger, Blanchot rejects the possibility of an authentic response to death, because (to put it simply) he rejects the possibility of death, that is to say of the individual's experience of death, and thus rejects, in total, the possibility of understanding and "properly" engaging with it.
布朗肖沿用了象征主义诗人斯忒法·马拉美叙述作为反现实主义语言，与日常经验相异的文学语言概念的作品。文学语言，作为双重的否定，要求我们经验为缺席之文字所伪装的缺席；它把我们暴露在语言之外，这是一种与死亡之不可能性相似的经验。布朗肖就哲学家的死亡问题与海德格尔进行了对话，表明文学和死亡是如何被经验为无名的被动性。与海德格尔不同，布朗肖拒斥对死亡作出本真回应的可能性，因为（简要说来）他拒绝承认死亡的可能性，也即，个体对死亡的经验，并因此而整个地拒绝，理解和“本体地”参与死亡的可能性。
Blanchot also draws heavily from Franz Kafka, and his fictional work (like his theoretical work) is shot through with an engagement with Kafka's writing.
布朗肖也从卡夫卡处受益良多，他的虚构作品（和他的理论作品一样）也充满了与卡夫卡作品的对话。
Blanchot's work was also strongly influenced by his friends Georges Bataille and Emmanuel Levinas. Blanchot's later work in particular is influenced by Levinasian ethics and the question of responsibility to the Other. On the other hand, Blanchot's own literary works, like the famous Thomas the Obscure, heavily influenced Levinas' and Bataille's ideas about the possibility that our vision of reality is blurred because of the use of words (thus making everything you perceive automatically as abstract as words are). This search for the 'real' reality is illustrated by the works of Paul Celan and Stéphane Mallarmé.
布朗肖的作品也深受他的朋友乔治·巴塔耶和埃马纽埃尔·列维纳斯的影响。布朗肖的晚期作品特别浸染了列维纳斯式的伦理思想以及对他者的责任问题。另一方面，布朗肖自己的文学作品，如《黑暗多玛》(Thomas the Obscure)，也深受列维纳斯和巴塔耶关于这样一种可能性的观念——我们的真实视野（对现实的真视）因言语的使用而变得模糊（并因此而使你自动感知的一切变得言语般地抽象）——的影响。这种对“真实”现实的追求，在保罗·策兰和斯忒法·马拉美的作品中得到了充分的说明。
His best-known fictional works are Thomas the Obscure, an unsettlingly récit ("[récit] is not the narration of an event, but that event itself, the approach to that event, the place where that event is made to happen", M. Blanchot in The Song of the Sirens) about the experience of reading and loss; Death Sentence; Aminadab and The Most High about a bureaucrat in a totalitarian state. His central theoretical works are "Literature and the Right to Death" (in The Work of Fire and The Gaze of Orpheus), The Space of Literature, The Infinite Conversation, and The Writing of Disaster.
他最著名的小说有《黑暗多玛》，一个关于阅读和丧失之经验的令人不安的记述(récit)（“（记述[récit]）不是对叙事（事件的叙述），而是事件本身，是对事件的接近，事件被迫发生之地”，布朗肖在《海妖之歌》中如是说道）；《死亡裁决》；《亚米拿达》和关于极权主义国家官僚主义的《至高者》。他的核心理论著作有《文学与死亡的权利》（载《火的作品》和《俄耳甫斯的凝视》），《文学空间》，《无限的对话》，以及《灾难书写》。
The main intellectual biography of Blanchot is by Christophe Bident: Maurice Blanchot, partenaire invisible.
布朗肖的思想传记主要有克里斯朵夫·比特的《莫里斯·布朗肖，不可见的对话者》。
Little was known until recently about much of Blanchot's life, and he long remained one of the most mysterious figures of contemporary literature.
关于布朗肖的生活，目前绝大部分几乎不为人所知，一直以来，他都是当代文坛最神秘的人物之一。
Brief biography
二，传略
Pre-1945
1945年以前
Blanchot studied philosophy at the University of Strasbourg, where he became a close friend of the Lithuanian-born French phenomenologist, Emmanuel Levinas. He then embarked on a career as a political journalist in Paris. From 1932 to 1940 he was editor of the mainstream, conservative daily the "Journal des dé-bats". Early in the 1930s he contributed to a series of radical nationalist magazines, while also serving as editor of the fiercely anti-German daily "Le rempart" in 1933 and as editor of Paul Lévy's anti-Nazi polemical weekly "Aux écoutes". In 1936 and 1937 he also contributed to the far right monthly "Combat" and to the nationalist-syndicalist daily "L'Insurgé", which eventually ceased publication - largely as a result of Blanchot's intervention - because of the anti-semitism of some of its collaborators. Charges that Blanchot himself was the author of anti-semitic texts in the 1930s have yet to be properly proven and rely for the most part on unfounded allegations. (On the contrary, Blanchot is the known author of a number of texts attacking anti-semitism.) There is no dispute that Blanchot was nevertheless the author of a series of violently polemical articles attacking the government of the day and its confidence in the politics of the League of Nations, and warned persistently against the threat to peace in Europe posed by Nazi Germany.
布朗肖在斯特拉斯堡大学学习哲学，在那里，他与立陶宛裔法国现象学家埃马纽埃尔·列维纳斯结下了深厚的友谊。此后，布朗肖在巴黎从事政治记者的行当。1932年到1940年，布朗肖任当时的主流保守日报《辩论杂志》编辑。二十世纪三十年代早期，他为一系列激进民族主义杂志撰稿，同时于1933年担任激烈反对德国的《防御报》并于1933年任保尔·瓦莱里的反纳粹辩论周报《听》。1936至1937年间，他也为极右翼月刊《战斗》和民族主义-工团主义日报《起义者》撰稿，后者最终因某些合作者的反犹主义态度而被迫停刊——这很大程度上说是布朗肖介入的结果。关于布朗肖本人就是二十世纪三十年代那些反犹主义文本作者的指控至今仍未得到他本人的证实，同时部分地为他并无根据的陈述所辩解。（与此相反，众所周知，布朗肖也是一系列反对反犹主义文本的作者。）无可争议的是，尽管如此，布朗肖仍是一系列文本的作者，这些文本粗暴地对当时的政府发起挑衅，在国际联盟中寻求政治支持，并不断警示防范对纳粹德国推行的欧洲和平的威胁。
In December 1940, he met Georges Bataille, who had written strong anti-fascist articles in the thirties, and who would remain a close friend until his death in 1962. During the occupation of Paris, Blanchot worked in Paris. In order to support his family, he continued to work as a book reviewer for the Journal des débats from 1941 to 1944, writing for instance about such figures as Sartre and Camus, Bataille and Michaux, Mallarmé and Duras for a putatively Pétainist readership. In these reviews he laid the foundations for later French critical thinking, by examining the ambiguous rhetorical nature of language, and the irreducibility of writing to notions of truth or falsity. He refused the editorship of the collaborationist Nouvelle Revue Française, for which, as part of an elaborate ploy, he had been suggested by Jean Paulhan. He remained a bitter opponent of the fascist, anti-semitic novelist and journalist Robert Brasillach, who was the principal leader of the pro-Nazi collaborationist movement, and was active in the Resistance. In June 1944, Blanchot was almost executed by a Nazi firing squad (as is recounted in his text The Instant of My Death).
1940年12月，布朗肖遇见了乔治·巴塔耶，后者在三十年代发表了一系列强烈反法西斯主义的文章，直到1962去世之前，巴塔耶都是布朗肖最为亲密的朋友之一。敌占期期间，布朗肖在巴黎工作。为滋养家用，他从1941年至1944年间一直为《辩论杂志》撰写书评，时而也为该报反贝当主义的读者们撰写一些有关萨特和加缪，巴塔耶和米肖，马拉美和杜拉斯的文章。在这些书评中，他通过审视语言模棱两可的修辞本性和写作到真假观念的不可还原性，为稍后的法国批评思想打下了基础。他拒绝担任通敌卖过者把持的《新法兰西评论》的编辑，虽然让·保朗曾建议他不妨策略性地接受这个职位。他还是法西斯主义，反犹主义小说家和记者罗贝尔·布拉希拉奇充满仇恨的反对者，后者是亲纳粹通敌运动的主要领导者，并在抵抗运动中异常活跃。1944年6月，布朗肖差一点就被纳粹行刑队枪决（正如他在文本《我死亡的瞬间》中描述的那样）。
Post-1945
1945年以后
After the war Blanchot began working only as a novelist and literary critic. In 1947, Blanchot left Paris for the secluded village of Eze in the south of France, where he spent the next decade of his life. Like Sartre and other French intellectuals of the era, Blanchot avoided the academy as a means of livelihood, instead relying on his pen. Importantly, from 1953 to 1968, he published regularly in Nouvelle Revue Franéaise. At the same time, he began a lifestyle of relative isolation, often not seeing close friends (like Levinas) for years, while continuing to write lengthy letters to them. Part of the reason for his self-imposed isolation (and only part of it - his isolation was closely connected to his writing and is often featured among his characters) was the fact that, for most of his life, Blanchot suffered from poor health.
战后布朗肖开始只以小说家和文学批评家的身份工作。1947年，布朗肖离开巴黎，到法国南部的埃兹村隐居，接下来的十年它都在此度过。就像萨特和该时期的其他法国知识分子那样，布朗肖没有把学术当做谋生的行当，而是以文笔谋生。重要的是，1953年至1968年间，他定期在《新法兰西评论》上发表文章。同时，他开始过一种相对隔绝的生活，常常数年间连（像列维纳斯那样的）亲密的朋友也不见上一面，同时不断地给他们写长长的信。他自我强加的孤离部分（当然只是部分地如此——他的孤离与他的写作紧密地联系在一起，这点常常在他创作的角色中得到说明）的原因在于，终其一生，布朗肖都为糟糕的健康状况所迫。
Blanchot's political activities after the war shifted to the left. He is widely credited with being one of main authors of the important "Manifesto of the 121", named after the number of its signatories, who included Jean-Paul Sartre, Robert Antelme, Alain Robbe-Grillet, Marguerite Duras, René Char, Henri Lefebvre, Alain Resnais, Simone Signoret and others, which supported the rights of conscripts to refuse the draft in Algeria. The manifesto was crucial to the intellectual response to the war.
战后，布朗肖的政治活动转向左翼。大家都相信，它是“121宣言”的主要作者之一，这份宣言以其签署者——包括让-保尔·萨特，罗贝尔·安泰尔姆，阿兰·罗伯-格里耶，玛格丽特·杜拉斯，勒内·夏尔，昂利·勒菲弗尔，阿兰·勒斯内，西蒙·西涅莱等人，这些签署者支持应征者拒绝被征调到阿尔及利亚服役的权利——的数目为名。就知识界对战争的回应而言，宣言是至关重要的。
In May 1968, Blanchot once again emerged from personal obscurity, in support of the student protests. It was his sole public appearance after the war. Yet for fifty years he remained a consistent champion of modern literature and its tradition in French letters. During the later years of his life, he repeatedly wrote against the intellectual attraction to fascism, and notably against Heidegger's post-war silence over the Holocaust.
1968年五月，布朗肖一度从个人的默默无闻中起身，支持抗议的学生。这是他在战后唯一一次公开露面。五十年来，他一直是现代文学及其在法国文学中的传统的坚定的捍卫者。在生命的晚年，他不断撰文反对知识界对法西斯主义的亲近，尤其是反对海德格尔战后在大屠杀事件上的沉默。
Blanchot authored over the course of his career more than thirty works of fiction, literary criticism, and philosophy. Up to the 1970s, he worked continually in his writing to break the barriers between what are generally perceived as different "genres" or "tendencies", and much of his later work moves freely between narration and philosophical investigation.
终其一生，布朗肖提供创作了三十多部小说、文学批评和哲学著作。一直到二十世纪七十年代，他都致力于通过写作来打破所谓“文类”和“作品旨趣”之间的壁垒，而他晚期的作品，大多游弋在叙事与哲学研究之间。
In 1983, Blanchot published La Communauté inavouable (The Unavowable Community) in response to, and as a critical engagement with, The Inoperative Community, Jean-Luc Nancy's attempt to approach community in a non-religious, non-utilitarian and un-political exegesis.
1983年，作为对让-吕克·南希在《非功效的共同体》中追求非宗教、非功利主义、非政治共同体尝试的回应，也作为批判性的对话，布朗肖出版了《不可言明的共同体》。
He died on February 20, 2003 in Le Mesnil-Saint-Denis, Yvelines, France.
2003年2月20日，布朗肖于法国伊夫林省的梅斯尼尔-圣-德尼逝世。
Principal works
主要作品
Principally fiction or narrations (récits)
小说或叙事（记述）
■Thomas l'Obscur, 1941 (Thomas the Obscure)
《黑暗多玛》，1941
■L'Arrêt de mort, 1948 (Death Sentence)
《死亡裁决》，1948
■Le Très-Haut, 1949 (The Most High)
《至高者》，1949
■Le Pas au-delà, 1973 (The Step Not Beyond)
《那边的脚步》，1973
■L'Instant de ma mort, 1994 (The Instant of My Death)
《我死亡的瞬间》，1994
Principally theoretical or philosophical works
理论或哲学著作
■Faux Pas, 1943
《失态》，1943
■La Part du feu, 1949 (The Work of Fire)
《火的局部》，1949（《火的作品》）
■L'Espace littéraire, 1955 (The Space of Literature - main theoretical work)
《文学空间》，1955，最主要的理论著作
■L'Entretien infini, 1969 (The Infinite Conversation)
《无限的对话》，1969
■L'Ecriture du désastre, 1980 (The Writing of the Disaster)
《灾难书写》，1980
■Le Livre à venir, 1959 (The Book to Come)
《将来之书》，1959
■Une voix venue d'ailleurs, 2002 (A Voice from Elsewhere)
《别处的声音》，2002
Many of Blanchot's translators into English have established their own reputations as prose stylists and poets in their own right; some of the better known include Lydia Davis, Paul Auster, and Pierre Joris.
布朗肖的许多英文译者都赢得了自己的声誉，本身就是著名的散文家和诗人；其中最广为人知的有利迪亚·戴维斯，保罗·奥斯特与皮埃尔·尤里斯。
莫里斯·布朗肖（1907年9月22日，德芙洛兹，索恩-卢瓦尔——2003年2月20日），法国作家，哲学家，文论家。其著作对后来的后结构主义理论家（如德里达）有巨大的影响。
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王立秋试译自维基百科 http://en.wikipedia.org/wiki/Maurice_Blanchot
Word
一，著作
Blanchot's work is not a coherent, all-encompassing 'theory', since it is a work founded on paradox and impossibility. The thread running through all his writing is the constant engagement with the 'question of literature', a simultaneous enactment and interrogation of the profoundly strange experience of writing. For Blanchot, 'literature begins at the moment when literature becomes a question' (Literature and the Right to Death).
布朗肖的作品并非自洽、封闭的“理论”，因为它基于悖论和不可能性。贯彻布朗肖写作始终的，是“文学问题”——与写作深刻的他异(strange)经验同时出现，由此经验提出的质问——的不断介入。对布朗肖而言，“当文学成为问题的那一刻，才有了文学。”（《文学与死亡的权利》）
Blanchot draws on the work of the symbolist poet Stéphane Mallarmé in formulating his conception of literary language as anti-realist and distinct from everyday experience. Literary language, as double negation, demands that we experience the absence masked by the word as absence; it exposes us to the exteriority of language, an experience akin to the impossibility of death. Blanchot engages with Heidegger on the question of the philosopher's death, showing how literature and death are both experienced as anonymous passivity. Unlike Heidegger, Blanchot rejects the possibility of an authentic response to death, because (to put it simply) he rejects the possibility of death, that is to say of the individual's experience of death, and thus rejects, in total, the possibility of understanding and "properly" engaging with it.
布朗肖沿用了象征主义诗人斯忒法·马拉美叙述作为反现实主义语言，与日常经验相异的文学语言概念的作品。文学语言，作为双重的否定，要求我们经验为缺席之文字所伪装的缺席；它把我们暴露在语言之外，这是一种与死亡之不可能性相似的经验。布朗肖就哲学家的死亡问题与海德格尔进行了对话，表明文学和死亡是如何被经验为无名的被动性。与海德格尔不同，布朗肖拒斥对死亡作出本真回应的可能性，因为（简要说来）他拒绝承认死亡的可能性，也即，个体对死亡的经验，并因此而整个地拒绝，理解和“本体地”参与死亡的可能性。
Blanchot also draws heavily from Franz Kafka, and his fictional work (like his theoretical work) is shot through with an engagement with Kafka's writing.
布朗肖也从卡夫卡处受益良多，他的虚构作品（和他的理论作品一样）也充满了与卡夫卡作品的对话。
Blanchot's work was also strongly influenced by his friends Georges Bataille and Emmanuel Levinas. Blanchot's later work in particular is influenced by Levinasian ethics and the question of responsibility to the Other. On the other hand, Blanchot's own literary works, like the famous Thomas the Obscure, heavily influenced Levinas' and Bataille's ideas about the possibility that our vision of reality is blurred because of the use of words (thus making everything you perceive automatically as abstract as words are). This search for the 'real' reality is illustrated by the works of Paul Celan and Stéphane Mallarmé.
布朗肖的作品也深受他的朋友乔治·巴塔耶和埃马纽埃尔·列维纳斯的影响。布朗肖的晚期作品特别浸染了列维纳斯式的伦理思想以及对他者的责任问题。另一方面，布朗肖自己的文学作品，如《黑暗多玛》(Thomas the Obscure)，也深受列维纳斯和巴塔耶关于这样一种可能性的观念——我们的真实视野（对现实的真视）因言语的使用而变得模糊（并因此而使你自动感知的一切变得言语般地抽象）——的影响。这种对“真实”现实的追求，在保罗·策兰和斯忒法·马拉美的作品中得到了充分的说明。
His best-known fictional works are Thomas the Obscure, an unsettlingly récit ("[récit] is not the narration of an event, but that event itself, the approach to that event, the place where that event is made to happen", M. Blanchot in The Song of the Sirens) about the experience of reading and loss; Death Sentence; Aminadab and The Most High about a bureaucrat in a totalitarian state. His central theoretical works are "Literature and the Right to Death" (in The Work of Fire and The Gaze of Orpheus), The Space of Literature, The Infinite Conversation, and The Writing of Disaster.
他最著名的小说有《黑暗多玛》，一个关于阅读和丧失之经验的令人不安的记述(récit)（“（记述[récit]）不是对叙事（事件的叙述），而是事件本身，是对事件的接近，事件被迫发生之地”，布朗肖在《海妖之歌》中如是说道）；《死亡裁决》；《亚米拿达》和关于极权主义国家官僚主义的《至高者》。他的核心理论著作有《文学与死亡的权利》（载《火的作品》和《俄耳甫斯的凝视》），《文学空间》，《无限的对话》，以及《灾难书写》。
The main intellectual biography of Blanchot is by Christophe Bident: Maurice Blanchot, partenaire invisible.
布朗肖的思想传记主要有克里斯朵夫·比特的《莫里斯·布朗肖，不可见的对话者》。
Little was known until recently about much of Blanchot's life, and he long remained one of the most mysterious figures of contemporary literature.
关于布朗肖的生活，目前绝大部分几乎不为人所知，一直以来，他都是当代文坛最神秘的人物之一。
Brief biography
二，传略
Pre-1945
1945年以前
Blanchot studied philosophy at the University of Strasbourg, where he became a close friend of the Lithuanian-born French phenomenologist, Emmanuel Levinas. He then embarked on a career as a political journalist in Paris. From 1932 to 1940 he was editor of the mainstream, conservative daily the "Journal des dé-bats". Early in the 1930s he contributed to a series of radical nationalist magazines, while also serving as editor of the fiercely anti-German daily "Le rempart" in 1933 and as editor of Paul Lévy's anti-Nazi polemical weekly "Aux écoutes". In 1936 and 1937 he also contributed to the far right monthly "Combat" and to the nationalist-syndicalist daily "L'Insurgé", which eventually ceased publication - largely as a result of Blanchot's intervention - because of the anti-semitism of some of its collaborators. Charges that Blanchot himself was the author of anti-semitic texts in the 1930s have yet to be properly proven and rely for the most part on unfounded allegations. (On the contrary, Blanchot is the known author of a number of texts attacking anti-semitism.) There is no dispute that Blanchot was nevertheless the author of a series of violently polemical articles attacking the government of the day and its confidence in the politics of the League of Nations, and warned persistently against the threat to peace in Europe posed by Nazi Germany.
布朗肖在斯特拉斯堡大学学习哲学，在那里，他与立陶宛裔法国现象学家埃马纽埃尔·列维纳斯结下了深厚的友谊。此后，布朗肖在巴黎从事政治记者的行当。1932年到1940年，布朗肖任当时的主流保守日报《辩论杂志》编辑。二十世纪三十年代早期，他为一系列激进民族主义杂志撰稿，同时于1933年担任激烈反对德国的《防御报》并于1933年任保尔·瓦莱里的反纳粹辩论周报《听》。1936至1937年间，他也为极右翼月刊《战斗》和民族主义-工团主义日报《起义者》撰稿，后者最终因某些合作者的反犹主义态度而被迫停刊——这很大程度上说是布朗肖介入的结果。关于布朗肖本人就是二十世纪三十年代那些反犹主义文本作者的指控至今仍未得到他本人的证实，同时部分地为他并无根据的陈述所辩解。（与此相反，众所周知，布朗肖也是一系列反对反犹主义文本的作者。）无可争议的是，尽管如此，布朗肖仍是一系列文本的作者，这些文本粗暴地对当时的政府发起挑衅，在国际联盟中寻求政治支持，并不断警示防范对纳粹德国推行的欧洲和平的威胁。
In December 1940, he met Georges Bataille, who had written strong anti-fascist articles in the thirties, and who would remain a close friend until his death in 1962. During the occupation of Paris, Blanchot worked in Paris. In order to support his family, he continued to work as a book reviewer for the Journal des débats from 1941 to 1944, writing for instance about such figures as Sartre and Camus, Bataille and Michaux, Mallarmé and Duras for a putatively Pétainist readership. In these reviews he laid the foundations for later French critical thinking, by examining the ambiguous rhetorical nature of language, and the irreducibility of writing to notions of truth or falsity. He refused the editorship of the collaborationist Nouvelle Revue Française, for which, as part of an elaborate ploy, he had been suggested by Jean Paulhan. He remained a bitter opponent of the fascist, anti-semitic novelist and journalist Robert Brasillach, who was the principal leader of the pro-Nazi collaborationist movement, and was active in the Resistance. In June 1944, Blanchot was almost executed by a Nazi firing squad (as is recounted in his text The Instant of My Death).
1940年12月，布朗肖遇见了乔治·巴塔耶，后者在三十年代发表了一系列强烈反法西斯主义的文章，直到1962去世之前，巴塔耶都是布朗肖最为亲密的朋友之一。敌占期期间，布朗肖在巴黎工作。为滋养家用，他从1941年至1944年间一直为《辩论杂志》撰写书评，时而也为该报反贝当主义的读者们撰写一些有关萨特和加缪，巴塔耶和米肖，马拉美和杜拉斯的文章。在这些书评中，他通过审视语言模棱两可的修辞本性和写作到真假观念的不可还原性，为稍后的法国批评思想打下了基础。他拒绝担任通敌卖过者把持的《新法兰西评论》的编辑，虽然让·保朗曾建议他不妨策略性地接受这个职位。他还是法西斯主义，反犹主义小说家和记者罗贝尔·布拉希拉奇充满仇恨的反对者，后者是亲纳粹通敌运动的主要领导者，并在抵抗运动中异常活跃。1944年6月，布朗肖差一点就被纳粹行刑队枪决（正如他在文本《我死亡的瞬间》中描述的那样）。
Post-1945
1945年以后
After the war Blanchot began working only as a novelist and literary critic. In 1947, Blanchot left Paris for the secluded village of Eze in the south of France, where he spent the next decade of his life. Like Sartre and other French intellectuals of the era, Blanchot avoided the academy as a means of livelihood, instead relying on his pen. Importantly, from 1953 to 1968, he published regularly in Nouvelle Revue Franéaise. At the same time, he began a lifestyle of relative isolation, often not seeing close friends (like Levinas) for years, while continuing to write lengthy letters to them. Part of the reason for his self-imposed isolation (and only part of it - his isolation was closely connected to his writing and is often featured among his characters) was the fact that, for most of his life, Blanchot suffered from poor health.
战后布朗肖开始只以小说家和文学批评家的身份工作。1947年，布朗肖离开巴黎，到法国南部的埃兹村隐居，接下来的十年它都在此度过。就像萨特和该时期的其他法国知识分子那样，布朗肖没有把学术当做谋生的行当，而是以文笔谋生。重要的是，1953年至1968年间，他定期在《新法兰西评论》上发表文章。同时，他开始过一种相对隔绝的生活，常常数年间连（像列维纳斯那样的）亲密的朋友也不见上一面，同时不断地给他们写长长的信。他自我强加的孤离部分（当然只是部分地如此——他的孤离与他的写作紧密地联系在一起，这点常常在他创作的角色中得到说明）的原因在于，终其一生，布朗肖都为糟糕的健康状况所迫。
Blanchot's political activities after the war shifted to the left. He is widely credited with being one of main authors of the important "Manifesto of the 121", named after the number of its signatories, who included Jean-Paul Sartre, Robert Antelme, Alain Robbe-Grillet, Marguerite Duras, René Char, Henri Lefebvre, Alain Resnais, Simone Signoret and others, which supported the rights of conscripts to refuse the draft in Algeria. The manifesto was crucial to the intellectual response to the war.
战后，布朗肖的政治活动转向左翼。大家都相信，它是“121宣言”的主要作者之一，这份宣言以其签署者——包括让-保尔·萨特，罗贝尔·安泰尔姆，阿兰·罗伯-格里耶，玛格丽特·杜拉斯，勒内·夏尔，昂利·勒菲弗尔，阿兰·勒斯内，西蒙·西涅莱等人，这些签署者支持应征者拒绝被征调到阿尔及利亚服役的权利——的数目为名。就知识界对战争的回应而言，宣言是至关重要的。
In May 1968, Blanchot once again emerged from personal obscurity, in support of the student protests. It was his sole public appearance after the war. Yet for fifty years he remained a consistent champion of modern literature and its tradition in French letters. During the later years of his life, he repeatedly wrote against the intellectual attraction to fascism, and notably against Heidegger's post-war silence over the Holocaust.
1968年五月，布朗肖一度从个人的默默无闻中起身，支持抗议的学生。这是他在战后唯一一次公开露面。五十年来，他一直是现代文学及其在法国文学中的传统的坚定的捍卫者。在生命的晚年，他不断撰文反对知识界对法西斯主义的亲近，尤其是反对海德格尔战后在大屠杀事件上的沉默。
Blanchot authored over the course of his career more than thirty works of fiction, literary criticism, and philosophy. Up to the 1970s, he worked continually in his writing to break the barriers between what are generally perceived as different "genres" or "tendencies", and much of his later work moves freely between narration and philosophical investigation.
终其一生，布朗肖提供创作了三十多部小说、文学批评和哲学著作。一直到二十世纪七十年代，他都致力于通过写作来打破所谓“文类”和“作品旨趣”之间的壁垒，而他晚期的作品，大多游弋在叙事与哲学研究之间。
In 1983, Blanchot published La Communauté inavouable (The Unavowable Community) in response to, and as a critical engagement with, The Inoperative Community, Jean-Luc Nancy's attempt to approach community in a non-religious, non-utilitarian and un-political exegesis.
1983年，作为对让-吕克·南希在《非功效的共同体》中追求非宗教、非功利主义、非政治共同体尝试的回应，也作为批判性的对话，布朗肖出版了《不可言明的共同体》。
He died on February 20, 2003 in Le Mesnil-Saint-Denis, Yvelines, France.
2003年2月20日，布朗肖于法国伊夫林省的梅斯尼尔-圣-德尼逝世。
Principal works
主要作品
Principally fiction or narrations (récits)
小说或叙事（记述）
■Thomas l'Obscur, 1941 (Thomas the Obscure)
《黑暗多玛》，1941
■L'Arrêt de mort, 1948 (Death Sentence)
《死亡裁决》，1948
■Le Très-Haut, 1949 (The Most High)
《至高者》，1949
■Le Pas au-delà, 1973 (The Step Not Beyond)
《那边的脚步》，1973
■L'Instant de ma mort, 1994 (The Instant of My Death)
《我死亡的瞬间》，1994
Principally theoretical or philosophical works
理论或哲学著作
■Faux Pas, 1943
《失态》，1943
■La Part du feu, 1949 (The Work of Fire)
《火的局部》，1949（《火的作品》）
■L'Espace littéraire, 1955 (The Space of Literature - main theoretical work)
《文学空间》，1955，最主要的理论著作
■L'Entretien infini, 1969 (The Infinite Conversation)
《无限的对话》，1969
■L'Ecriture du désastre, 1980 (The Writing of the Disaster)
《灾难书写》，1980
■Le Livre à venir, 1959 (The Book to Come)
《将来之书》，1959
■Une voix venue d'ailleurs, 2002 (A Voice from Elsewhere)
《别处的声音》，2002
Many of Blanchot's translators into English have established their own reputations as prose stylists and poets in their own right; some of the better known include Lydia Davis, Paul Auster, and Pierre Joris.
布朗肖的许多英文译者都赢得了自己的声誉，本身就是著名的散文家和诗人；其中最广为人知的有利迪亚·戴维斯，保罗·奥斯特与皮埃尔·尤里斯。
