Abstract In the Danish author-performer Claus Beck-Nielsen’s multi-artistic work the notion of the journey can be understood not only as a political and activist initiative, but also a configuration of movements that takes part in a continuous examination of identities and positions. His 2017 novel Det højeste væsen [The Highest Being], published under the name Madame Nielsen, demonstrates how his energetic activity and flamboyant performativity also imply an aesthetic confrontation with a traumatic past. The two plots — the failed love story and the falling dictator — reflect each other in their recycling of myths and clichés. By means of the concept of ‘postmemory’, I argue that the novel makes use of cultural conventions achieving neither an historically adequate representation nor a reparative one. The novel reveals the ways in which trauma works as an impossibility of experiencing and therefore also a distortion of memorizing processes. Both in the form of the historic events connected to the Romanian dictator and the narrator’s affair with the Romanian ballerina, powerful mediations end up substituting the experience and instead consolidating its traumatic memory.

中文翻译：

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我受伤了。Nielsens Dethøjestevæsenmellom myte og politikk女士

摘要在丹麦作家-表演者克劳斯·贝克·尼尔森的多元艺术作品中，旅程的概念不仅可以理解为政治和激进主义者的主动行动，而且可以理解为参与不断地研究身份和立场的各种运动形式。以尼尔森夫人的名义出版的他的2017年小说《最高的存在》（Dethøjestevæsen）表明了他充满活力的活动和华丽的表演性也暗示着与创伤历史的审美对抗。失败的爱情故事和独裁者堕落这两个情节在神话和陈词滥调的循环中相互反映。通过“后记忆”的概念，我认为这部小说利用了各种文化习俗，既没有实现历史上的充分表现，也没有实现修复上的表现。小说揭示了创伤是无法体验的方式，因此也是记忆过程的一种扭曲。既有与罗马尼亚独裁者有关的历史事件的形式，又有叙述者与罗马尼亚芭蕾舞女演员的往事，强有力的调解最终代替了经验，而巩固了其创伤性记忆。