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<dc:title xml:lang="fr">« Face à ce qui se dérobe » : figures de la distance dans l’oeuvre d’Henri Michaux</dc:title>
<dcterms:alternative xml:lang="en">"Face à ce qui se dérobe" : figures of distance in Henri Michaux’s work</dcterms:alternative>
<dc:subject xml:lang="fr">Distance</dc:subject>
<dc:subject xml:lang="fr">Figures</dc:subject>
<dc:subject xml:lang="fr">Poésie</dc:subject>
<dc:subject xml:lang="fr">Philosophie</dc:subject>
<dc:subject xml:lang="fr">Phénoménologie</dc:subject>
<dc:subject xml:lang="fr">Henri Michaux (1899-1984)</dc:subject>
<dc:subject xml:lang="fr">Sillon</dc:subject>
<dc:subject xml:lang="fr">Gouffre</dc:subject>
<dc:subject xml:lang="fr">Dislocation</dc:subject>
<dc:subject xml:lang="fr">Colle.</dc:subject>
<dc:subject xml:lang="fr">Fidélité</dc:subject>
<dc:subject xml:lang="fr">Drogues</dc:subject>
<dc:subject xml:lang="en">Distance</dc:subject>
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<dc:subject xml:lang="en">Phenomenology</dc:subject>
<dc:subject xml:lang="en">Henri Michaux (1899-1984)</dc:subject>
<dc:subject xml:lang="en">Drugs</dc:subject>
<dc:subject xml:lang="en">Fidelity</dc:subject>
<dc:subject xml:lang="en">Furrow</dc:subject>
<dc:subject xml:lang="en">Abyss</dc:subject>
<dc:subject xml:lang="en">Dislocation</dc:subject>
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<tef:elementdEntree autoriteExterne="027027767" autoriteSource="Sudoc">Michaux, Henri (1899-1984)</tef:elementdEntree>
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<tef:elementdEntree autoriteExterne="027233502" autoriteSource="Sudoc">Hallucinations et illusions</tef:elementdEntree>
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<dcterms:abstract xml:lang="fr">Découpé en cinq moments qui sont autant de façons de phraser la distance, ce travail s’attache à comprendre comment ce concept philosophique est figuré dans l’œuvre. Ce faisant, il s’intéresse à la manière dont une écriture littéraire peut dramatiser le conceptuel. Il s’agit d’abord d’éclairer la distance que HM établit pour se préserver du contact avec un dehors éprouvé comme collant et gênant. Les postures de distance avaient pour but de se dérober mais se retournent contre celui qui les a mises en œuvre, par la dérobée. Cette doublure de la présence qui la soupçonnait conduit à une absence douloureuse. À rebours de l’interprétation habituelle, nous lisons dans les textes de drogue la poursuite d’une quête opiniâtre de la distance, une obsession du contrôle, notamment par la dévaluation de l’expérience et par la lutte épique contre le gouffre. Finalement, ce n’est pas chronologiquement mais plutôt de façon stratifiée que le lien évolue, les moments se déployant et se recouvrant les uns les autres, et le sujet ménageant la distance et la proximité dans une forme de fidélité fluente.</dcterms:abstract>
<dcterms:abstract xml:lang="en">Divided into five moments – five ways of phrasing distance – this thesis delves into the representation of the philosophical concept of distance in Henri Michaux’s work. In the process, it examines the way in which literary writing can dramatize the conceptual. First, it addresses the distance introduced by Michaux to preserve himself from the outside, perceived as something sticky and embarrassing. Postures of distance devised as a means of evasion (se dérober) backfire through the very process of evading. The suspicion cast on the actuality of presence by doubles (doublures) instills a painful sense of absence. The material of drug texts is analyzed as the continuation of an unrelenting quest for distance, an obsession for control, involving in particular the devaluation of experience and the epic struggle against the abyss. Ultimately, ties change not chronologically but through a stratification process; moments unfold and overlap; and the subject engages with distance and proximity in a manner characterized by a sense of fluent fidelity.</dcterms:abstract>
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