批評者對文本中柔軟隱密之處施加壓力，揭露了虛假的對立、粗鄙的本質主義、資產階級霸權、總體化機制、人文主義目的論、骯髒的壓制、影響深遠的困境，以及文本中許多其他脆弱之處。文本在批評家的審視下掙扎反抗，發出尖銳的抗議，但批評者毫不留情。
Although much has been written on autobiography, the same cannot be said of autothanatography, the writing of one's death. This study starts from the deconstructive premise that autobiography is aporetic, not or not only a matter of a subject strategizing with language to produce an exemplary identity but a matter also of its responding to an exorbitant call to write its death. The I-dominated representations of particular others and of the privileged other to whom a work is addressed, must therefore be set against an alterity plaguing the I from within or shadowing it from without. This alterity makes itself known in writing as the potential of the text to carry messages that remain secret to the confessing subject. Anticipation of the potential for the confessional text to say what Augustine calls the secret I do not know, the secret of death, engages the autothanatographical subject in a dynamic, inventive, and open-ended process of identification. The subject presented in these texts is not one that has already evolved an interior life that it seeks to reveal to others, but one that speaks to us as still in process. Through its exorbitant response, it gives intimations of an interiority and an ethical existence to come. Baudelaire emerges as a central figure for this understanding of autobiography as autothanatography through his critique of the narcissism of a certain Rousseau, his translation of De Quincey's confessions, with their vertiginously ungrounded subject-in-construction, his artistic practice of self-conscious, thorough-going doubleness, and his service to Wilde as model for an aporetic secrecy. The author discusses the interruption of narrative that must be central to the writing of one's death and addresses the I's dealings with the aporias of such structuring principles as secrecy, Levinasian hospitality, or interiorization as translation. The book makes a strong intervention in the debate over one of the most-read genres of our time
儘管關於自傳的著述汗牛充棟，但關於自述死亡（即書寫死亡）的研究卻寥寥無幾。本研究以解構主義的前提為出發點，認為自傳本身就是一種困境，它不僅是主體運用語言策略建構理想身分的過程，更是主體回應書寫自身死亡這一巨大召喚的過程。因此，以「我」為主導的對特定他者以及作品所指向的特權他者的表述，必須與一種困擾「我」或籠罩其外的「他者性」進行對比。這種「他者性」在寫作中顯現，表現為文本承載著對坦白主體而言仍是秘密的訊息的潛力。對坦白文本可能揭示奧古斯丁所說的「我所不知的秘密」——死亡的秘密——的預期，促使自述死亡的主體參與到一個動態的、創造性的、開放的身份認同過程中。這些文本所呈現的主題並非一個已經發展出內在生命並試圖向他人揭示的對象，而是一個仍在形成過程中、與我們對話的對象。它透過其誇張的反應，暗示著一種即將到來的內在性和倫理存在。波特萊爾透過對盧梭的自戀的批判、對德·昆西的懺悔錄的翻譯（其中令人眩暈的、無根的建構主體）、他自覺的、徹底的雙重性的藝術實踐，以及他為王爾德提供的關於困境式秘密的範例，成為理解自傳作為自傳式死亡書寫的核心人物。作者探討了敘事中斷對於書寫死亡至關重要，並闡述了「我」如何應對諸如秘密、列維納斯式的款待或作為翻譯的內化等結構原則所帶來的困境。這本書對我們這個時代最受歡迎的閱讀類型之一的爭論做出了強有力的貢獻。
aporia
əˈpɔːrɪə,əˈpɒrɪə/
noun
- an irresolvable internal contradiction or logical disjunction in a text, argument, or theory."the celebrated aporia whereby a Cretan declares all Cretans to be liars"
- RHETORICthe expression of doubt.
Aporia literally translates to "without a passage" or "no way through". Tracing back to Socratic philosophy, this state of being pathless can surprisingly act as a catalyst for genuine discovery. By dissolving false knowledge and forcing you to acknowledge what you don't know, it opens the door to new inquiries. [1, 2, 3]
To help break out of this paralysis, let's look at the problem together:
- What is the nature of the issue (creative, personal, or professional)?
- Are there any constraints (time, money, or resources) making it feel so blocked?
「困境」（Aporia）字面意思是「沒有出路」或「無路可走」。追溯到蘇格拉底哲學，這種迷惘的狀態出乎意料地可以成為真正發現的催化劑。它能消除錯誤的認知，迫使你承認自己的無知，從而開啟新的探索之門。為了幫助你擺脫這種困境，讓我們一起來審視問題：問題的本質是什麼（創意方面的、個人方面的還是職業方面的）？是否有任何限制（時間、金錢或資源）導致你感覺束手無策？
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