Brown Shaw combines the philosophy of death with literary theory, exploring the relationship between literature and death through works such as "The Fire" and "Literary Space". He reflected on the German philosophy of death and proposed that death is an infinite process external to the subject and time, which he called "death". Blanchard believed that death drives writing and influences French literary theory. His fictional works, such as "Death Judgment," explore the theme of death with avant-garde techniques, making the narrative a place to experiment with the idea of death.

Death and Narrative

In Blanchard's narrative works, the presence of death is depicted in two basic scenes: everyday scenes and extreme scenes. In daily scenes, the dying pass away under the protection of the living, such as Anna in "Dark Thomas", J in "Death Judgment", and the unnamed woman in "The Last Man". They bid farewell to others on their deathbed, but the process of death appears difficult and lengthy. These female characters who were hit by death, with lifeless and weak images, joined the ranks of despairing individuals depicted in existentialist or absurd literature. In extreme scenarios, such as execution scenes, the topic of trial and execution, influenced by Kafka, appears multiple times in Brown Shaw's novels. In 'The Moment of My Death', the protagonist is arrested by the Nazi army, and the expected death did not come as scheduled. However, the narrative leaves a strange sentence: 'I am alive. No, you are dead', implying that the protagonist lives in the infinite space of death. Blanchard's death narrative focuses on a special type of death experience, namely the near death experience. Laku Rabat, through the tracing of literary history, restored the Western classical tradition of this experience of death and called it nekuia. Blanchot's death narrative occupies a relatively recent important position in the nekuia theme defined by Lacu Rabat, but unlike a series of previous variations, this position is also likely to mark the final moment of heresy.

revive

In depth exploration of the theme of resurrection in Brown Shaw's works reveals its unique position in literary tradition. Brown Shaw reinterpreted the concept of resurrection through works such as "Dark Thomas" and "Death Judgment," transforming it from a traditional return to life to a state of intertwined life and death. In 'Dark Thomas', the protagonist Thomas' resurrection is described as a' buried alive 'state, where he feels the emptiness of life in the non reality of death. His resurrection is not the rebirth of life, but the continuation of death itself. Nancy pointed out that Brown Shaw's concept of resurrection is fundamentally different from the resurrection in the Gospel of John, with the former emphasizing the resurrection of death and the latter the resurrection of the dead. In "The Judgment of Death," J's resurrection also exhibits heretical traits, as the resurrected did not truly return to life, but were trapped by the cycle of death, becoming an existence between life and nothingness. Laporte further analyzed the image of the Grim Reaper in Brown Shaw's works, believing that it represents the eternal movement of life and death, and is a symbol of life enduring the cycle of death. Blanchard's resurrection narrative therefore has a Gothic mysterious atmosphere, depicting a pain of being unable to survive or seek death.

survive

This article delves into Brown Shaw's complex understanding of the concept of "survival" and reveals the close connection between survival and death by analyzing the word "cessation" in the Death Judgment. Derrida introduced an analysis of "The Judgment of Death" when discussing Shelley's "Triumph of Life" with the Yale School, viewing survival as the starting point of deconstruction. Blanchard's explanation of survival in "The Deception" emphasizes that it is not simply survival or life supplementation, but rather an operation on death. J's struggle in her illness reflects the oscillation between the judgment of death and the cessation of death. Her resurrection is seen as the "resurrection of death," and her gaze is the "gaze of the Grim Reaper. Blanchard believed that survival meant that the death verdict did not determine death, but rather stopped death, but this cessation itself encountered cessation, forming a paradox. Derrida regarded this survival as an "extended" relationship, transcending the dualism of life and death, and deconstructing Western metaphysics of being present. Although Brown Shaw's survival revolves around death, Derrida's interpretation of "The Moment of My Death" focuses solely on death as the object of analysis, showcasing the aspect of preserving life.

remain

The Moment of My Death "is a narrative of Brown Shaw's near death by Nazi execution during World War II, and Derrida named the surviving form" demeure "through careful reading. In the text, the word 'demeure' appears in different grammatical forms, and the narrative surrounding it involves the continuation of dwelling, retention actions, and temporal forms. Survival is not only an immortal state, but also closely related to the continuation of the moment of death. Derrida believed that the temporal operation of existence is to infinitely delay the moment of death, turning it into an eternal continuity, detached from chronology or timekeeping. In Blanchard's narrative, the persistence of the moment of death means that the end of death is no longer possible, and death becomes a continuous and endless movement. Resurrection and survival are the rediscovery of death, completing the stubborn persistence of death. Brown Shaw distinguished between the concepts of mourir and la mort, implying the existence of two types of death: death outside the body and death inside the body. Death cannot initiate or end death, it can only come as an impossible outcome towards death itself. The moment of death undergoes three negations and reversals, becoming an empty nucleus. Derrida named the surviving event described by Brown Shaw as' demouration ', meaning' the surviving will not die '. Blanchard's narrative of death follows the literary essence definition he derived from Mallam's Silent Poetics, establishing the existence of the literary world on the basis of negation and emptiness. The fiction of literature still retains its right to reproduce and speak, and fiction is witness. Through literature's transcendence of death, Brown Shaw practiced what he called the "writing of disaster" in his later period.