Thomas Bernhard's work abounds in rejections. The impulse of not wanting to participate, of refusing to be complicit, lies at the heart of Bernhard's oeuvre. If this refusal is frequently embedded in discursive or even programmatic strategies, it really seems to undermine its own foundations, the very arguments and justifications put forward to make the refusal possible. Before being directed at a specific object, the refusal appears to stem from a more general disposition to say no. Drawing on Der Keller (1976), the second book of Bernhard's Autobiographie, as well as on Auslöschung (1986), the article examines the narrative as well as the discursive aspects of what could be called hyperbolic negativity in Bernhard's work. Hyperbolic negativity is characterised by totalisation. As Auslöschung’s protagonist Murau puts it: ʻBy and by, we have to reject everything.ʼ While in Bernhard's autobiographical writings the primacy of rejection is turned into work and a renewal of life, this impulse becomes aporetic in Auslöschung. Employed as a means of constituting the subject against the determining effects of education, heritage and history, negativity at the same time triggers a destructive turn against the narrator himself. The gnostic attitude, moreover, rules out political action. Yet, as a mode of discourse that is able to point at its unsaid other, hyperbolic negativity generates aesthetic productivity.

中文翻译：

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'NACH UND NACHMÜSSENWIR ALLES ABLEHNEN'：HYPERBOLISCHENEGATIVITÄTBEI THOMAS BERNHARD

托马斯·伯恩哈德（Thomas Bernhard）的工作被很多人拒绝。不想参加，拒绝成为同谋的冲动，是伯恩哈德作品的核心。如果这种拒绝经常被包含在话语甚至程序策略中，那么它实际上似乎在破坏其自身的基础，为使这种拒绝成为可能而提出的论点和理由。在针对某个特定对象之前，拒绝似乎源于一个更普遍的倾向，即拒绝。借鉴了《德·凯勒（Der Keller，1976）》，伯恩哈德（Bernhard）的自传第二本书以及奥斯陆（Auslöschung）（1986），本文考察了伯纳德作品中所谓的双曲线否定性的叙事和话语方面。双曲线负性的特征在于累加。正如Auslöschung的主角Murau所说的那样：“到那时，我们必须拒绝一切。ʼ在Bernhard的自传著作中，拒绝的首要条件变成了工作和生活的更新，这种冲动在Auslöschung变成了外交。否定性被用来作为抵制教育，遗产和历史的决定性影响而构成主题的一种手段，同时引发了对叙述者本人的破坏性转折。此外，不可知论者的态度排除了政治行动。然而，作为一种能够指出其未提及的话语的话语方式，双曲否定性产生了审美生产力。