introduction

In French, 'r é cit' refers to narrative and involves various literary genres. Brown Shaw understands "r é cit" as a special narrative experience and literary works created based on this experience. He developed a unique narrative theory by writing such works.

1、 The Encounter Movement between Narrative and Unique Events

In "The Book of the Future," Brown Shaw distinguishes the difference between fiction and narrative through the story of the Siren's Song in Greek mythology. He compares fiction to the process of a fleet sailing towards the Strait of Messina, while narrative is similar to Odysseus listening to the Siren's Song. Novels aim to depict human time and stories through constant change, while narratives pursue a unique goal that is difficult to achieve and beyond expressive power. Unique things, also known as external or external factors, are the core of narrative that attract the narrator but cannot be grasped. Blanchard believed that the encounter between narrative and unique events is ambiguous, neither completely happening nor completely absent, and this encounter also implies separation. Timeliness is the key to understanding such encounters, as unique events destroy the narrator's present moment, causing the encounter and separation between the narrator and the event to occur simultaneously. Braunschweig regards Proust's "Remembrance of the Lost Years" and Breton's "Nadia" as exemplars of such narratives in modern texts, and his own works also reflect this narrative feature. Narrative cannot lead to a clear ending, but rather a subtle and ambiguous encounter with something unique.

2、 Neutral narrative discourse

Blanchard's theory of neutral narrative discourse holds that there is no unity between form and content, signifier and signified in literary works. Literary works pursue a suspension, affirming infinite meaning through limited meaning and pointing to the existence of the work itself. Neutral space is the void space in which modern fictional works exist, and neutral language refers to the discourse of the work's own existence. In neutral relationships, the other appears absent, eliminating the binary opposition in metaphysics and no longer belonging to the category of visible or invisible. The characteristic of neutral language is that it is separated from the thing to be spoken, not intended in a visible or invisible way, but only a form of speech, abandoning the relationship between language and existence. In a neutral relationship, the meaning of the other cannot be proposed and can only be expressed in a neutral way, which is an absolute lack of meaning. The nature of literature is to become a ghost, bearing all the preparations for meaning, and reducing itself to a mere imitation of a restoration. The way literary suspension can refer to is not by negating meaning, but by releasing meaning into a ghostly existence, expressing various possible relationships between meaning and beyond. Brownian style narrative, as a neutral language, encounters the movement of encountering and speaking about things, and speaks through the distance of nothingness. In narrative, it is not unique events that guide the narrator's narrative, but rather the unmeasurable distance between the narrator and unique events caused by the invisibility of unique events that constructs the narrator's language. The narrator begins to narrate through this void distance, and thus narrative is born. Blanchard's narrative fiction technique is to create an "impossible realism" between the narrator and the object, where there exists something unique that cannot be revealed, and at the same time, this unique thing is approaching reality. The narrator must accurately and truthfully describe anything encountered, breaking it down into various appearances to make everything clear. The narrator intends to approach something unique, but his approach to appearances can be described as a 'forgotten approach', as any connotation of this approach is absent. Blanchard's narrative discourse only points to a certain existence of the narrative itself, thus constituting a neutral language. The unique thing, as the narrator's intended message, implies that an absolute other has intruded into the narrator's experience. The narrator narrates the movement of their encounter with something unique through a distance of nothingness. This narrative witnesses the absence of all connotations of the Other from the narrator's perspective: in the narrative, the Other is always neither this nor that one. The other always withdraws from the narrative, and the narrative always establishes the other outside of the narrator's narrative. The entire narrative never unfolds under any guarantee or guidance in a unique matter. There is always a strange relationship between narration and uniqueness, and the hollow narration constructed by the distance of nothingness cannot be filled with any specific referent. Narrative, when suspending itself as an empty discourse itself, does not negate unique things, but rather breaks free and retreats beyond all possibilities and meanings in the movement of meeting and separation. This narrative repeats itself with the infinite repetition of the encounter movement, and the work also points to itself, that is, the narrative gradually sees itself as a void within the work and speaks infinitely.

3、 Exile style survival situation

Explored the concept of flowing survival situations in Maurice Blanchot's narrative theory. Blanchard believes that distance in narrative produces neutral sounds that are not fixed in a specific location and are both missing and redundant. Narrative cannot reveal unique things through specific events, leading to a tendency to abandon events and turn to repeating external narratives. This repetition is a differential repetition of the encounter movement, making the story time an infinite return to the encounter movement, almost devoid of meaning. The narrative reveals a way of existence that is exiled outside of things, namely the exile style survival situation. Unique things are hollow memories from the beginning, and narrative is constantly tested by the initial absence. Narrative implies the initial absence in a circuitous manner, making the narrator obedient to the eternal other and affirming the other. This circuitous suggestion plunges the narrator into distress and helplessness, realizing that they have been exiled to everything else about others, repeating a life of failure and emptiness. Blanchard's narrative rejects any possibility of redemption, questions the fundamental premise of traditional metaphysics, and eliminates the remnants of metaphysics in Heidegger's phenomenology. Blanchard's neutral narrative and Derrida's' The Question of God 'both reflect the anxiety of writing towards any event, even death, always being exiled outside of the event.

conclusion

Brown Shaw regards narrative as a unique thing that includes silence and being silenced, which destroys the present and belongs only to narrative. Narration and uniqueness maintain a distance of emptiness, without imbuing meaning, allowing empty words to appear freely. The narrator affirms the other through circuitous means, but cannot solve the dilemma of the stranger's existence. The narrator realizes that they are in an exile style survival situation where they have lost the possibility of redemption, repeating a life of failure and emptiness, presenting a complete non redemption theory.