Cette étude s’attache à analyser l’aspiration des théories architecturales contemporaines à l’idée d’« auto-définition » de l’œuvre architecturale à travers le débat philosophique qui oppose l’irreprésentable à la représentation dans l’art. Nous entendons, en nous appuyant sur la définition donnée par Jacques Rancière dans Le destin des images, par le terme générique d’« irreprésentable » un évènement ou une idée dont on dit que la singularité dépasse toute la représentation que peut fournir l’iconographie architecturale. Nous soutenons que l’idée d’« auto-définition » de l’architecture se présente sur le plan conceptuel comme une tentative de représentation de l’irreprésentable. La contradiction interne qu’un tel projet génère exige une technique supplémentaire qui transformerait cette contradiction en une affirmation d’exceptionnalité nouvelle de l’œuvre. Cette technique n’est pas une invention récente, son nom historique est le sublime.Notre travail montre que sous ses formes diverses le concept de sublime est impliqué dans les mutations de la discipline architecturale, de telle sorte que l’historicité du sublime pourrait être confondue avec celle de l’architecture ; ce non pas du point de vue de l’iconographie, de l’évolution des styles et des formes architecturales, ni non plus comme une manière spécifique de voir l’architecture, mais précisément en termes de rapport particulier entre la forme et le contenu, entre une manière de faire et une manière de dire, ou plutôt selon une certaine condition de possibilité autorisant les opérations d’inclusion et d’exclusion des éléments théoriques hétérogènes au sein du discours architectural. / Through the philosophical debate opposing the unrepresentable to representation in art, this study analyzes contemporary architectural theories' aspiration towards the idea of "self-definition" of the architectural work. The generic term “unrepresentable” (irreprésentable), following Jacques Rancière's definition in Le destin des images, here stands for an event or an idea whose singularity exceeds any representation provided by architectural iconography. We contend that the idea of "self-definition" of architecture is, from a conceptual standpoint, an attempt to represent the unrepresentable. The internal contradiction generated by such a project requires an additional technique transforming this contradiction into a new affirmation of the work's novelty. Such a technique is no recent invention: its historical name is the sublime.We show that in its various forms the concept of the sublime is involved in the architectural discipline's mutations, to the point that the historicity of the sublime can be identified with the historicity of architecture. Not so from the point of view of iconography, the evolution of styles and architectural forms, nor either as a specific way of seeing architecture; but precisely so in terms of a relationship between form and content, between a way of doing and a way of saying, or rather of a certain condition of possibility allowing operations of inclusion and exclusion of heterogeneous theoretical elements within the architectural discourse.

Language limitations impose challenges to artistic productions. The “unspeakable” and “unrepresentable” refer to the moments when language barriers become obstacles to conveying meaning. How do contemporary Francophone literatures and film deal with the complexities of the representation of unrepresentable things? How do artists portray something that exceeds meaning, such as violence, which, according to Jean-Luc Nancy, “does not participate in any order of reasons […] does not transform what it assaults; rather, it takes away its form and meaning”? This interdisciplinary work examines the representation of violence and trauma in contemporary literature and film and brings together the representation of three different types of violence: extreme, social, and intimate. The artist’s acknowledgement of the limitations of language in such contexts affects the representation itself and enables a different kind of representation: alternative discourses that would sensitize readers/spectators. These new discourses make them active participants in the symbolization process, allowing them to fill the semantic, unrepresentable gaps through their imagination. Part I focuses on extreme violence in Rithy Panh’s, Véronique Tadjo’s, and Kivu Ruhorahoza’s films and narratives on the Cambodian and Rwandan Genocides. By examining these artists’ position as by turns both insiders and outsiders, I demonstrate that their strategy of alternating perspectives allows them to represent genocide in a more objective way. In Part II, taking the works of Shenaz Patel, Ananda Devi, Marie-Célie Agnant, and Faïza Guène as departing points, I explore the use of madness and humor as narrative discourses. The freedom given by humor and madness allows these authors to blur, negotiate, and criticize the socially constructed perceptions of what is normal and abnormal, sane and insane. Lastly, in works by Annie Ernaux, Ananda Devi, and Maïssa Bey, the practice of writing the self is a way to confront traumas, which become an interface between individual and collective histories. Revisiting violent and traumatic experiences through writing serves as catharsis, ultimately allowing the authors to reconcile with themselves. Juxtaposing these different types of unspeakable/unrepresentable human experiences, this research broadens the understanding of how artistic production can transgress the limitations of language. / 2021-11-12T00:00:00Z

Depuis les origines de la psychanalyse, le problème de l’hallucinatoire est étroitement lié au problème du fonctionnement de l’inconscient. Dans la métapsychologie « première topique », le modèle de la réalisation hallucinatoire de désir explique autant le fonctionnement du nourrisson (hallucination primitive), que celui du rêve et de la névrose de transfert. Dans Construction dans l’analyse, Freud propose toutefois une hypothèse alternative : l’hallucinatoire peut véhiculer la re- présentation, dans la cure, de noyaux irreprésentables de vérité historique. En s’appuyant sur les réflexions de plusieurs auteurs post-freudiens (Winnicott, Green, Roussillon...), l’auteur développe l’héritage freudien en essayant de l’inscrire dans un modèle capable d’intégrer l’intrapsychique et l’intersubjectif. Il avance et discute l’hypothèse de l’existence d’un fond hallucinatoire du psychisme, régi par la compulsion de répétition, qui re-active les toutes premières expériences relationnelles du sujet. Lorsque la rencontre originaire avec l’objet échoue, les traces de ces situations traumatiques s’enkystent dans le psychisme et font retour, de manière hallucinatoire, dans le transfert, à la recherche d’un autre-semblable capable de leur donner une première forme affective. C’est uniquement grâce à un dur travail d’élaboration contre- transférentielle – illustré ici à travers plusieurs cas d’enfants et d’adolescents psychotiques – que l’analyste arrive parfois à accueillir et à transformer ce transfert du négatif, en accompagnant ainsi ses patients sur le chemin ardu qui mène à la symbolisation (primaire) et à la constitution d’une aire transitionnelle où le je(u) peut enfin advenir. / From the birth of psychoanalysis the conceptualization of the hallucinatory is intimately intertwined with that of the unconscious functioning. In the first topic, the model of the hallucinatory realization of desire explains the baby’s mental functioning, i.e., primal hallucination, the functioning of dreams and neurotic patients in the transference. However, Freud suggests an alternative conceptualization in Constructions in Analysis. Through the hallucinatory, unsymbolized nuclei of historical truth may be re-presented in the treatment. Drawing on Winnicott’s, Green's and Roussillon’s contributions, the Author develops the Freudian heritage and suggests a model in which the intrapsychic and intersubjective dimensions are integrated. The Author puts forward and discusses the existence of a hallucinatory background of the psychism, ruled by the repetition compulsion, that re-activates the psychic inscriptions of early relational experiences. When the primal encounter with the object has failed, traces of these traumatic experiences remain inscribed in the psychism and can be hallucinatory re- activated in the transference in the desperate attempt to find a first representation. Drawing on the case material of psychotic children and adolescents, the Author analyses the complex working through of the countertransference in order to contain this transference of the negative to accompany patients in their arduous way towards (primary) symbolization and the construction of a transitional space of playing.

[pt] Esta dissertação investiga modos discursivos não figurativos de apresentação da dor para, a partir disso, dar a ver possíveis modalidades enunciativas de auto-expressão que, mesmo reagindo a uma crise da representação, põem em questão uma acepção de real enquanto irrepresentável. O estudo se debruça sobre escritos de três autores que no século XX responderam com diferentes ênfases à questão aqui abordada: Ludwig Wittgenstein, Antonin Artaud e Henry Miller. A problemática que se desenha nesse trabalho é provocada pela predileção de Wittgenstein pelo tema da dor em suas Investigações Filosóficas no tratamento do argumento da linguagem privada. Wittgenstein, nesse ponto, incita a uma reflexão que se dirija às manifestações de linguagem relativas à dor, que não sendo a representação de um mundo interior do indivíduo, constituem comportamentos exercitados em determinados jogos de linguagem que lhes dão pertinência. ―Como posso, pois, querer colocar a linguagem entre a dor e a manifestação da dor? (IF, 245). Em um primeiro momento, empreende-se uma reflexão que, a partir das advertências de Wittgenstein, dirigida a questionar uma defesa do irrepresentável, busca uma leitura dos modos discursivos do próprio Wittgenstein para a apresentação de ocasiões em que a expressão da dor pela linguagem não sendo sua representação é um comportamento perante a dor. E, num segundo momento, uma leitura de obras de Antonin Artaud e Henry Miller cujo tratamento da dor, em perspectiva dessa leitura de Wittgenstein, apresenta modalidades discursivas empenhadas numa expressão não figurativa e avessas a uma acepção do real como irrepresentável. / [en] This dissertation investigates non-figurative discursive ways of presentation of pain to see, go on from there, the possible modalities of enunciation of self-expression that, even reacting to a crisis of representation, call into question a sense of real as unrepresentable. The study focuses on the writings of three authors in the twentieth century responded with different emphasis to the issue addressed here: Ludwig Wittgenstein, Antonin Artaud and Henry Miller. The issue that is shaping this work is caused by the predilection of Wittgenstein for the theme of pain in his Philosophical Investigations in the treatment of private language argument. Wittgenstein at this point calls for a reflection that addresses the manifestations of language related to pain, not being the representation of individual s inner world, constitutes behaviors exercised in specific language games that give them relevance. ―How I can even attempt to interpose language between the expression of pain and the pain? (PI, 245). First of all, it proposes a reflection that, from Wittgenstein s warnings, addressed to question a defense of the unrepresentable, looking for a reading of discursive modes of Wittgenstein s own for the presentation of occasions in which the expression of pain by language not being a representation is a behavior before the pain. And, secondly, a reading of works by Antonin Artaud and Henry Miller whose pain treatment, in view of this reading of Wittgenstein, presents discursive modalities engaged in a non-figurative expression and averse to a real sense as unrepresentable.