Abstract

The challenge of what we understand by hypermodern is that the concept does not fit in any French literary movement or school of thought. Is it that the hypermodern novel transmutes with each contemporary author? This article discusses how Houellebecq is one novelist who has adopted ideology as a shorthand for questioning the state of contemporary French society. Yet critical reality is far more complex—as Houellebecq is no realist writer—and it is conditioned by vested interest in what literature can say today in a world dominated by the image-truth paradigm. While Houellebecq gives the appearance of a reactionary figure, his œuvre is multi-faceted, notably with the issue of form as opposed to mere political message. It is therefore important to study the valence of culture and truth while at the same time nothing seems to be really happening in his far-fetched plots. Is it also the reason why Houellebecq dismisses the duality between aesthetics and mimesis? In a very Baudelairian fashion, Houellebecq’s sense of beauty strives in mediocre lives. The article analysis offers counter-arguments as well as a discussion on Houellebecq’s plea to reinvent the novel itself.

摘要

我们对超现代的理解所面临的挑战是，这个概念不适合任何法国文学运动或思想流派。是超现代小说与每位当代作家author变吗？本文讨论了侯埃勒贝克（Houellebecq）是如何将意识形态作为质疑法国当代社会状况的简写的小说家。但是，批判性现实要复杂得多（因为Houellebecq并非现实主义作家），而且它以对当下以图像真相为范本的文学今天所说的既得利益为条件。虽然Houellebecq给出了一个反动人物的出现，他的作品是多方面的，特别是形式问题，而不仅仅是政治信息。因此，重要的是研究文化和真理的价值，而与此同时，在他的牵强的情节中似乎没有真正发生任何事情。这也是为什么侯贝尔贝克（Houellebecq）放弃美学与模仿的双重性的原因吗？Houellebecq以一种极具包德莱风格的方式，追求平庸的生活。文章分析提供了反驳的论点，并讨论了霍勒贝克（Houellebecq）重塑小说本身的诉求。