{"title":"记忆英雄:精神恶魔","authors":"A. Moreiras","doi":"10.3138/YCL.61.68","DOIUrl":null,"url":null,"abstract":"Abstract: This article is an extended meditation on Javier Cercas’s 2014 novel El impostor. An extant fragment from Heraclitus says “ethos anthropoi daimon.” Marco, Cercas’s protagonist, is undecidably a “man of destiny” or a “man of character,” to use Hegelian categories recently reappropriated by Rafael Sánchez Ferlosio. But, if “character” is “destiny” for the man, as the conventional translation of Heraclitus asserts, how does a destructive character relate to history?","PeriodicalId":342699,"journal":{"name":"The Yearbook of Comparative Literature","volume":"17 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2017-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"Memory Heroics: Ethos Daimon\",\"authors\":\"A. Moreiras\",\"doi\":\"10.3138/YCL.61.68\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Abstract: This article is an extended meditation on Javier Cercas’s 2014 novel El impostor. An extant fragment from Heraclitus says “ethos anthropoi daimon.” Marco, Cercas’s protagonist, is undecidably a “man of destiny” or a “man of character,” to use Hegelian categories recently reappropriated by Rafael Sánchez Ferlosio. But, if “character” is “destiny” for the man, as the conventional translation of Heraclitus asserts, how does a destructive character relate to history?\",\"PeriodicalId\":342699,\"journal\":{\"name\":\"The Yearbook of Comparative Literature\",\"volume\":\"17 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2017-12-21\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"The Yearbook of Comparative Literature\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.3138/YCL.61.68\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"The Yearbook of Comparative Literature","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.3138/YCL.61.68","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Abstract: This article is an extended meditation on Javier Cercas’s 2014 novel El impostor. An extant fragment from Heraclitus says “ethos anthropoi daimon.” Marco, Cercas’s protagonist, is undecidably a “man of destiny” or a “man of character,” to use Hegelian categories recently reappropriated by Rafael Sánchez Ferlosio. But, if “character” is “destiny” for the man, as the conventional translation of Heraclitus asserts, how does a destructive character relate to history?
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