Abstract This article involves identifying what Blanchot calls “désastre” in L’Écriture du désastre (1980). The fragments that make up this collection reveal four meanings that can be unfolded according to this logical order: 1) “désastre” recalls the passage “from the closed world to the infinite universe” (A. Koyré) driven by modern astronomy and philosophy against a humanity that believed itself at the center of everything; 2) “désastre” is akin to Derridean deconstruction: an iconoclastic re-reading of texts. It perverts the Hegelian dialectic: neither negation of “astre” nor promise of a reconciling synthesis; 3) “désastre” is the object, or subject, of an “écriture,” synonymous with a poetic fragment, radicalizing a turning point in Blanchot’s work. Rather than the German Romantics, the rapprochement here is with Nietzsche; 4) this fragmentary turning point obeys a double necessity: on the historical side, “désastre” evokes the yellow star of the Jew discredited; on the biographical side, Blanchot refers to psychoanalysis for the first time with such insistence, especially in the fragment entitled “(Une scène primitive ?).” Disaster is a paradoxical experience that moves from “du catastrophique ou du tragique” to “quelque chose qui s’est passé sans être présent.”

中文翻译：

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勃朗峰四方酒店

摘要本文涉及在勃朗峰（L'Écrituredudésastre）（1980）中识别Blanchot所说的“désastre”。构成此系列的片段揭示了可以按照此逻辑顺序展开的四种含义：1）“désastre”回顾了由现代天文学和哲学反对的“从封闭世界到无限宇宙”（A.Koyré）的这段话相信自己是一切中心的人类；2）“désastre”类似于Derridean的解构：对文本的反传统的重新阅读。它歪曲了黑格尔的辩证法：既不否定“ astre”也不希望实现和解。3）“德萨斯特”是“抄写”的对象或主题，“抄写”是诗意的片段，是勃朗霍特作品转折点的根本。尼采与这里的和睦相处，而不是德国浪漫派。4）这个零散的转折点有两个必要：在历史上，“désastre”唤起了失信的犹太人的黄星；在传记方面，布兰科特第一次在这种坚持下提到了心理分析，特别是在题为“（Unescènenative？）”的片段中。灾难是一种自相矛盾的经历，从“灾难性的悲剧”转变为“魁北克选择了最安静的路过”。