As might be expected of a Nobel Prize winner, Patrick Modiano stands out from the crowd. His œuvre is highly personal, and highly literary, thanks to its distinctive interplay of “fiction et diction” (Genette 2004). With each successive text, the same basic universe returns, albeit with slight variations. Typically, an autodiegetic narrator—the novelist’s ludically fictionalized, and sometimes autofictional, alter ego—embarks on a quest back into the past, because a now-distant event, or an abiding mystery, continues to impact upon the present. Revisiting once familiar sites (usually in Paris), this protagonist recalls (or occasionally imagines) old experiences, and seeks to preserve, through writing, the little that can still be saved from oblivion. Themes such as identity, difference, loss, remembrance, and forgetfulness predominate; characters and character types recur; a plethora of genres (biography, the historical novel, the roman noir, the love story, amongst others) intermingle; there is a constant va-et-vient between the real and the invented; and temporal levels collapse into a “présent éternel” (mirroring the workings of memory). Stylistically, a self-aware use of intertexts shows that literary creativity subtends the retrospection; the narrative combines with a meta-narrative, undermining any suspension of disbelief; and circularity proliferates, all of which reinforces the lack of final resolution, and ensures that each text is irrevocably non-totalizing. Incapable of being shoehorned into established categories, l’œuvre modianesque is, in a word, unique. Against this general backdrop, the present article will explore Modiano’s relationship to the Holocaust, in order to situate him vis-à-vis his peers, the members of “the second generation” or “those who come after” the Shoah, and to assess the extent to which he falls into, or remains detached from, this recognizable group of writers. More particularly, the analysis

中文翻译：

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皮影戏：帕特里克·莫迪亚诺和大屠杀的遗产

正如诺贝尔奖获得者所期望的那样，帕特里克·莫迪亚诺 (Patrick Modiano) 从人群中脱颖而出。由于其“小说与辞典”的独特相互作用，他的作品具有高度个人性和文学性（Genette 2004）。对于每个连续的文本，相同的基本宇宙都会返回，尽管略有不同。通常情况下，一个自述式叙述者——小说家可笑的虚构，有时是自创的另一个自我——开始追寻过去，因为现在遥远的事件，或者一个持久的谜团，继续影响着现在。重访曾经熟悉的地点（通常在巴黎），这位主人公回忆（或偶尔想象）过去的经历，并试图通过写作来保存仍然可以免于遗忘的一点点。身份、差异、失落、回忆和健忘等主题占主导地位；字符和字符类型重复出现；大量流派（传记、历史小说、黑色罗马、爱情故事等）相互融合；真实的和发明的之间有一个恒定的va-et-vient；和时间层次崩溃成“现在的永恒”（反映记忆的运作）。在文体上，对互文的自我意识使用表明，文学创造力包含了回顾；叙述与元叙述相结合，破坏了任何怀疑的悬念；和循环激增，所有这些都加剧了最终解决方案的缺乏，并确保每个文本都不可逆转地不完整。不能被硬塞进既定的类别，l'œuvre modianesque 总而言之，是独一无二的。在这种大背景下，本文将探讨莫迪亚诺与大屠杀的关系，为了让他与同龄人、“第二代”或“大屠杀之后的人”的成员相比，并评估他在多大程度上落入或仍然脱离这个可识别的群体的作家。更具体地说，分析