Juxtaposing several strands of European modernism, this article shows how psychoanalysis lays the ground for a transgressive model of literature, which problematizes the widespread early 20th-century conception of literature as either a civilizing force (articulated in the writings of I.A. Richards and F.R. Leavis) or a tool for freedom of expression (advocated by, amongst others, Ezra Pound). Following a brief analysis of Freud’s ideas on transgression in Civilization and Its Discontents, I discuss the work of French Surrealist Georges Bataille, who in the 1930s and 40s developed one of the most wide-ranging accounts of the transgressive potential of literature. Bataille’s ideas serve to complement recent accounts of transgressive modernism (notably Rachel Potter’s Obscene Modernism), which tend to focus on transgressive literature as a form of liberation from repressive social, moral and legal constraints. Bataille’s Freud-inspired theory, by contrast, points towards a more problematic and ambiguous dimension in the relation between transgression and law, always caught between denial and complicity, and unable to be accommodated within the progressive discourse of legal reform and/or educational progress. I conclude that transgressive literature, in Bataille’s sense, functions as an inevitable dialectical counterpoint to any positive conception the socio-ideological function of modern literature.

中文翻译：

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“法律与违法之间：文学作为20世纪初的（非）文明战略”

本文将欧洲现代主义的几部分并列，显示了精神分析如何为超越性的文学模型奠定了基础，这种文学模型质疑了20世纪初期广泛传播的文学观念，既不是一种文明力量（在IA Richards和FR Leavis的著作中也曾阐述过）或表达自由的工具（由埃兹拉·庞德倡导）。在简要分析了弗洛伊德关于文明及其不满的过犯思想之后，我讨论了法国超现实主义者乔治·巴塔耶的著作，他在1930年代和40年代提出了文学领域最广泛的侵害潜力之一。巴塔耶（Bataille）的思想是对近代海侵现代主义（尤其是雷切尔·波特（Rachel Potter）的淫秽现代主义）的补充，它倾向于将侵略性文学作为从不受压制性的社会，道德和法律约束中解放出来的一种形式。相比之下，巴塔耶（Bataille）受弗洛伊德（Freud）启发的理论指出，犯罪与法律之间的关系存在更多问题和歧义，总是陷于否认与共谋之间，无法适应法律改革和/或教育进步的渐进论述。我得出的结论是，从巴塔耶的意义上讲，海侵文学充当了对现代文学的社会意识形态功能的任何积极观念的必然辩证对抗。总是介于否认和共谋之间，无法适应法律改革和/或教育进步的渐进论述。我得出的结论是，从巴塔耶的意义上讲，海侵文学充当了对现代文学的社会意识形态功能的任何积极观念的必然辩证对抗。总是介于否认和共谋之间，无法适应法律改革和/或教育进步的渐进论述。我得出的结论是，从巴塔耶的意义上讲，海侵文学充当了对现代文学的社会意识形态功能的任何积极观念的必然辩证对抗。