Abstract:The recent publication of the Cahiers de l'Herne dedicated to the works of Maurice Blanchot, gathering correspondences, dedications, manuscripts and photos into a personalized archive, marks a significant turning point in the study of Blanchot's writing. For many of Blanchot's readers, the publication of the Cahier is perhaps ethically troublesome as well, due to Blanchot's well-known secrecy and thoroughly cultivated public invisibility. Of particular interest are the private photos reproduced in the Cahier, given Blanchot's extreme reticence to appear before the public eye. In order to critically consider the new photographs and the visibility they offer, I propose to trace Blanchot's own thoughts on photography throughout several of his philosophical and literary works. While visual aesthetics at first appear rather underrepresented in Blanchot's writings, once the photographic is sought out its appearances are manifold, and a coherent position emerges. In this article, I build my position on the Cahier's publication through my research on Blanchot's writings around the photographic medium, which touch questions of private and public representation, encounters of absence and presence, memory and celebrity. Photography occupies the margins of many of Blanchot's writings, and in this moment of complicated visibility, they deserve careful consideration.

中文翻译：

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追踪模糊的图像：莫里斯·布朗肖谈摄影

摘要：最近出版的 Maurice Blanchot 作品的 Cahiers de l'Herne 将信件、奉献、手稿和照片收集到一个个性化的档案中，标志着布朗肖写作研究的一个重要转折点。对于布朗肖的许多读者来说，由于布朗肖众所周知的保密性和彻底培养公众隐身性，《手册》的出版在伦理上也可能带来麻烦。尤其令人感兴趣的是《手册》中转载的私人照片，因为布朗肖极不希望出现在公众面前。为了批判性地考虑新照片及其提供的可见性，我建议在布朗肖的几部哲学和文学作品中追溯他对摄影的看法。虽然最初在布朗肖的作品中，视觉美学似乎没有得到充分体现，但一旦找到照片，它的外观是多种多样的，并且出现了一个连贯的位置。在这篇文章中，我通过我对布朗肖围绕摄影媒介的著作的研究来确立我对《手册》出版物的立场，这些著作涉及私人和公共代表、缺席和在场的相遇、记忆和名人等问题。摄影占据了布朗肖许多作品的空白，在这个复杂可见的时刻，它们值得仔细考虑。通过我对布朗肖围绕摄影媒介的作品的研究而出版，这些作品涉及私人和公共代表、缺席和在场的相遇、记忆和名人等问题。摄影占据了布朗肖许多作品的空白，在这个复杂可见的时刻，它们值得仔细考虑。通过我对布朗肖围绕摄影媒介的作品的研究而出版，这些作品涉及私人和公共代表、缺席和在场的相遇、记忆和名人等问题。摄影占据了布朗肖许多作品的空白，在这个复杂可见的时刻，它们值得仔细考虑。