The author of Le Mal des fantomes has something of the revenant. Until recently, Benjamin Fondane's problematic posterity has relegated him to the fragile margins of the canon, partly due to the relative scarcity of his works. Most of these works only reappeared in the early eighties, almost forty years after Fondane's death at Auschwitz in 1944. The publishers Plasma, which went bankrupt in 1983, and Paris-Mediterranee, which ceased activity in 2009, both helped republish Fondane's most essential works, but with little publicity. In 1989, Monique Jutrin published the second monograph on the work of this poet, existentialist philosopher, and polemist, Benjamin Fondane ou le periple d'Ulysse. (1) In 1997, Jutrin founded the Cahiers Benjamin Fondane, now in their 17th annual issue; Fondane's works have reappeared, this time through the well-established Editions Verdier; and monographs are being produced at the remarkable rate of close to one per year. (2) Alluding to Stendhal's famous remark, Fondane once claimed he might find a readership in 1980; history seems to be bearing out his claim. (3) Born Benjamin Wechsler in Jassy, Moldavia in 1898, the future Fondane began publishing at fourteen, and soon adopted the pseudonym Benjamin Fundoianu. Emigrating to France in 1923 and gallicizing his pseudonym to Fondane, he became one of Andre Breton's most ferocious critics and a disciple of the anti-rationalist philosopher Lev Shestov. His subtle, original, and deeply sophisticated polemical essays include the Faux Traite d'esthetique (1938), a philosophical pamphlet critiquing Surrealism and Roger Caillois. Fondane is often read in light of philosophers, as in Bruce Baugh's recent dual study of Fondane and Jean Wahl (Baugh 33-51). But where Levinas is concerned, the most convincing resonances begin, not between the philosophies of the two thinkers, but between Levinas's philosophy and Fondane's poetry. (4) I have elsewhere studied the points of contact between Fondane's most iconic poem, called the "Preface en prose," and Levinas's conception of ethical speech, a kind of discourse that recognizes the authority and fragility of the Other without coercion. Here, I focus instead on Fondane's elegiac long poem "Le Mal des fantomes" (1943). (5) In this powerful elegy, history appears as an oppressive, violent force of erasure. And while the poem cannot itself preserve the singularity of an individual existence, it nonetheless bears witness to that existence, provoking an awareness of the reader's own fragile and transient inner life. That inner life, and human interiority in general, necessarily lie outside of History, according to both Levinas and Fondane. This position opposes, as both Levinas and Fondane consistently do, Hegel's totalizing conception of History. Yet this conception of interiority as extrinsic to History represents a game of qui perd gagne. Levinas and Fondane intend to preserve interiority as a space of infinite possibility or pure potentiality, to safeguard interiority from the closure and fixity of History. Yet in excluding interiority from History, these thinkers also define it as necessarily lost or missing, as perpetually unrecorded and unrecordable. I argue, in short, that for both Fondane and Levinas, interiority constitutes the elegiac object par excellence. Fondane discusses Hegel's conception of history at length in his last philosophical essay, "Le Lundi existentiel et le dimanche de l'histoire" (1945, posthumous). Fondane critiques Hegel's notion that History is utterly rational, because it requires that Hegel maintain, for instance, that war can be "necessaire" (Le Lundi existentiel 66). In other words, a rational history implies rationalizing all the evils of history. To make matters worse, for Hegel as Fondane reads him, the finite is inauthentic, a kind of unreality in the face of the infinite Spirit: "[L]'idealisme de la philosophie consiste en la non-reconnaissance du fini comme etre veritable" [Hegel]; le fini, le dechire, le meurtri existent, sans doute, mais ne saurait avoir voix au chapitre; si, pourtant, ils elevent leur voix, on la tiendra pour une lamentation sterile, une plainte sentimentale, un pur reflet de besoins et d'appetits. …

中文翻译：

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逃避历史：本杰明·方达恩（Benjamin Fondane）的《 Mal des Fantomes》和室内设计

Le Mal des fantomes的作者对此有些保留。直到最近，本杰明·方达（Benjamin Fondane）的后代问题使他退居佳能的边缘，部分原因是他的作品相对匮乏。其中大部分作品仅在1944年方达因去世于奥斯威辛集中营后的四十年代初才出现。1983年破产的等离子出版商和于2009年停止活动的巴黎-地中海博物馆都帮助重新出版了方达因最重要的作品，但鲜为人知。1989年，莫妮克·朱特琳（Monique Jutrin）出版了第二部有关这位诗人，存在主义哲学家和辩论主义者本杰明·方达讷·乌勒西的作品的专着。（1）1997年，Jutrin创立了Cahiers Benjamin Fondane，现在已是第17期；方达尼的作品又出现了 这次通过完善的Editions Verdier；并以每年近一本的惊人速度出版专着。（2）方丹（Fondane）暗示斯坦德（Sendhal）的著名话，他曾声称他可能会在1980年找到读者；历史似乎正在证明他的主张。（3）本杰明·韦斯勒（Benjamin Wechsler）于1898年生于摩尔达维亚的茉莉花，未来的Fondane于十四岁开始出版，并很快以化名本杰明·丰度阿努（Benjamin Fundoianu）出名。他于1923年移居法国，并以化名给方达尼（Fondane），他成为安德烈·布列塔尼（Andre Breton）最残酷的批评家之一，也是反理性主义者哲学家列夫·舍斯托夫（Lev Shestov）的门徒。他的微妙，原始和深奥的辩论论文包括《虚假的美学》（1938年），一部批评超现实主义的哲学小册子和《罗杰·卡洛里斯》。人们通常是从哲学家的角度来阅读方达尼，就像布鲁斯·鲍尔（Bruce Baugh）最近对方达尼和让·瓦尔（Jean Wahl）的双重研究一样（鲍尔33-51）。但是，就列维纳斯而言，最有说服力的共鸣开始了，不是在两个思想家的哲学之间，而是在列维纳斯的哲学与方达讷的诗歌之间。（4）我在其他地方研究了方达涅最具标志性的诗作《散文序言》与列维纳斯的道德演说概念之间的联系，这是一种在没有胁迫的情况下承认他人权威和脆弱性的话语。在这里，我将重点放在方达涅的挽歌长诗“ Le Mal des fantomes”（1943年）上。（5）在这种强大的挽歌中，历史表现为一种压迫性的暴力擦除力量。虽然这首诗本身不能保留个人存在的奇异性，尽管如此，它还是见证了这一存在的存在，激发了读者对自己脆弱而短暂的内心生活的认识。列维纳斯和方达尼都认为，内心生活以及人类的整体内在性必然处于历史之外。正如莱维纳斯和方达恩一贯的做法一样，这一立场与黑格尔对历史的全面概念相反。然而，这种内在性是历史外部性的概念，代表着一场激战。Levinas和Fondane打算将内部性保留为无限可能性或纯潜力的空间，以保护内部性免受历史的封闭和固定。然而，除了将内在性排除在历史之外，这些思想家还将其定义为必然丢失或丢失，因为它们永远是未记录的和不可记录的。简而言之，我认为对于Fondane和Levinas来说，内部性构成了卓越的挽歌对象。方达内在他的最后一篇哲学文章《勒·隆迪存在与历史的勒芒》（1945年，死后）中详细讨论了黑格尔的历史观念。冯达讷批评黑格尔的观点是历史完全是理性的，因为它要求黑格尔坚持例如战争可以成为“必需品”（Le Lundi existentiel 66）。换句话说，理性的历史意味着将历史的所有弊端合理化。更糟糕的是，对于黑格尔而言，正如方达恩（Fondane）所读的那样，有限性是不真实的，面对着无限的精神，这是一种不现实：“哲学的理想化包含了真正的非宗教性的确认”。 [黑格尔]；le fini，le dechire，le meurtri存在，sans doute，迈斯·内·索拉伊特·阿沃伊·沃克斯·奥沙皮特 倒数第二个，倒数第二个，倒数第二个，倒数第二个，倒数第二个，倒数第二个，倒数第二个倒数 …