This article revisits Maurice Blanchot’s reading of German Romanticism and the Marquis de Sade in order to develop the concept of the fragmentary imperative of terror. For Blanchot, the romantic theory of literature originally formulated through the fragmentary collections of writings of Friedrich Schlegel and Novalis, as well as the scandalous and virtually unreadable publications attached to the name of the Marquis de Sade, places the historical phenomenon of terror at the heart of the aesthetic project of modern literature through which many notable writers of twentieth-century European modernism continued to work. Terror is a fascinating concept for Blanchot precisely because of its historical trajectory out of the space of revolutionary politics and into the space of modern literature. Accordingly, this article provides an historical foundation for Blanchot’s more widely discussed theory of the fragmentary imperative of literature by grounding it in Blanchot’s articulation of the political-cum-literary imperatives of terror.

中文翻译：

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莫里斯·布朗肖和恐怖的碎片化当务之急

本文重新审视莫里斯·布朗肖对德国浪漫主义和萨德侯爵的解读，以发展恐怖的零碎命令的概念。对布朗肖来说，最初通过弗里德里希·施莱格尔和诺瓦利斯的零碎作品集以及萨德侯爵的名字所附的丑闻和几乎不可读的出版物形成的浪漫文学理论将恐怖的历史现象置于核心位置20 世纪欧洲现代主义的许多著名作家通过它继续工作的现代文学美学工程。恐怖对布朗肖来说是一个迷人的概念，正是因为它走出革命政治空间，进入现代文学空间的历史轨迹。因此，