O Livro do Desassossego, chamado por Fernando Pessoa de autobiografia sem fatos, diário lúcido ou ao acaso, entre outras tantas classificações, atribuído a Vicente Guedes e a Bernardo Soares, seu heterônimo e semi-heterônimo, respectivamente, apresenta temáticas e estratégias textuais várias que podem aproximá-lo da literatura intimista. Motivado aparentemente pela reflexão íntima ou por um minucioso exame de consciência, essa voz narrativa autoral, que é observadora atenta da vida cotidiana circundante, considerada reles e comezinha, registra suas impressões pessoais num pretenso diário íntimo ficcional. Tais recursos, utilizados pela escrita intimista, bem como o texto fragmentário formado pelas anotações desse eu solitário e entediado, parecem ser uma tentativa de constituí-lo como sujeito. Além da complexa elaboração textual (cujos fragmentos soltos, a diarística e a narrativa autobiográfica são exemplos), que torna a escrita intimista ainda mais sui generis na obra, há outra problemática, não menos significativa - a condição editorial a que o Livro do Desassossego ficou sujeito, visto que, inacabado, foi ordenado e publicado postumamente, de acordo com as escolhas e critérios de seus organizadores. Esta tese, pois, à luz da escrita de si, delineia e analisa brevemente os sujeitos possivelmente constituídos em três edições do projeto da prosa pessoana em questão - as de Teresa Sobral Cunha, Jerónimo Pizzarro e Richard Zenith -, a fim de verificar se e como a ordenação desse complexo material deixado, com fins de publicação da obra, contribuiu para evidenciar o processo de busca ontológica desse(s) eu(s) ficcional(is). / TheBook of Disquiet, referred to by Fernando Pessoa as a factless autobiography, a lucid diary or a random diary, among so many other designations, and attributed to Vicente Guedes and to Bernardo Soares, his heteronym and semi-heteronym, respectively, presents diverse themes and writing strategies that may place it in the vicinity of Intimism. Apparently motivated by an intimate reflection or by thorough soul-searching, this authorial narrative voice an attentive observer of the surrounding daily life, which is considered vulgar and mundane records its personal impressions in a presumed fictional intimate diary. Such devices, which are used in writing of the self and the fragmentary text formed by the notes of this lonely and bored self, seem to be an attempt to constitute it as a subject. In addition to the complex text construction (examples of which are loose fragments, diaries and autobiographical narratives), which renders the writing of the self even more unique in the work, there is another and not less important issue the publishing condition to which The Book of Disquiet was subject. Left unfinished, it was posthumously ordered and published according to the organizers choices and criteria. Thus, this thesis, in the light of writing of the self, outlines and briefly analyzes the subjects possibly constituted in three editions of Pessoas prose project in question the ones organized by Teresa Sobral Cunha, by Jerónimo Pizzarro and by Richard Zenith , so as to check whether and how the ordering of this complex material, with the purpose of publishing the work, has contributed to reveal the process of ontological search for this fictional self or these fictional selves.

O Livro do Desassossego, chamado por Fernando Pessoa de autobiografia sem fatos, diário lúcido ou ao acaso, entre outras tantas classificações, atribuído a Vicente Guedes e a Bernardo Soares, seu heterônimo e semi-heterônimo, respectivamente, apresenta temáticas e estratégias textuais várias que podem aproximá-lo da literatura intimista. Motivado aparentemente pela reflexão íntima ou por um minucioso exame de consciência, essa voz narrativa autoral, que é observadora atenta da vida cotidiana circundante, considerada reles e comezinha, registra suas impressões pessoais num pretenso diário íntimo ficcional. Tais recursos, utilizados pela escrita intimista, bem como o texto fragmentário formado pelas anotações desse eu solitário e entediado, parecem ser uma tentativa de constituí-lo como sujeito. Além da complexa elaboração textual (cujos fragmentos soltos, a diarística e a narrativa autobiográfica são exemplos), que torna a escrita intimista ainda mais sui generis na obra, há outra problemática, não menos significativa - a condição editorial a que o Livro do Desassossego ficou sujeito, visto que, inacabado, foi ordenado e publicado postumamente, de acordo com as escolhas e critérios de seus organizadores. Esta tese, pois, à luz da escrita de si, delineia e analisa brevemente os sujeitos possivelmente constituídos em três edições do projeto da prosa pessoana em questão - as de Teresa Sobral Cunha, Jerónimo Pizzarro e Richard Zenith -, a fim de verificar se e como a ordenação desse complexo material deixado, com fins de publicação da obra, contribuiu para evidenciar o processo de busca ontológica desse(s) eu(s) ficcional(is). / TheBook of Disquiet, referred to by Fernando Pessoa as a factless autobiography, a lucid diary or a random diary, among so many other designations, and attributed to Vicente Guedes and to Bernardo Soares, his heteronym and semi-heteronym, respectively, presents diverse themes and writing strategies that may place it in the vicinity of Intimism. Apparently motivated by an intimate reflection or by thorough soul-searching, this authorial narrative voice an attentive observer of the surrounding daily life, which is considered vulgar and mundane records its personal impressions in a presumed fictional intimate diary. Such devices, which are used in writing of the self and the fragmentary text formed by the notes of this lonely and bored self, seem to be an attempt to constitute it as a subject. In addition to the complex text construction (examples of which are loose fragments, diaries and autobiographical narratives), which renders the writing of the self even more unique in the work, there is another and not less important issue the publishing condition to which The Book of Disquiet was subject. Left unfinished, it was posthumously ordered and published according to the organizers choices and criteria. Thus, this thesis, in the light of writing of the self, outlines and briefly analyzes the subjects possibly constituted in three editions of Pessoas prose project in question the ones organized by Teresa Sobral Cunha, by Jerónimo Pizzarro and by Richard Zenith , so as to check whether and how the ordering of this complex material, with the purpose of publishing the work, has contributed to reveal the process of ontological search for this fictional self or these fictional selves.

Étudier la représentation de l’écrivain dans son rapport à l’Histoire permet d’analyser les enjeux d’un retour de l’Histoire dans la fiction, accompagné d’une volonté auctoriale référentielle, sans retour d’un auteur démiurge ou d’une littérature purement référentielle. Il s’agit alors d’analyser comment Imre Kertész et Antonio Tabucchi conjuguent fictionnalisation de l’Histoire et fictionnalisation de l’écrivain en privilégiant les liens entre littérature et politique, et en s’appuyant sur la place du lecteur dans la construction du sens afin de déterminer une responsabilité des écrivains, dans l’oblicité de la représentation et du témoignage. Les désastres du XXe siècle font retour de manière spectrale dans les récits et la définition d’une poétique de l’inquiétude constitue alors le pivot entre la responsabilité du lecteur et celle des auteurs, pour l’émergence d’une littérature responsable. / Studying the way a writer is represented in his relationship to history allows us to analyse the stakes of a return of history within fiction, along with an author’s referential will, without witnessing any coming back of a demiurgic author or of a purely referential literature. The question, then, is to find out how Imre Kertész and Antonio Tabucchi combine fictionalization of history with fictionalization of the writer by emphasizing the links between literature and politics and by relying upon the reader’s role in the elaboration of the meaning, in order to give rise to a responsibility of writers for oblique representation and testimony. In all the narrations, the disasters of the XXth century are recurrent in a ghostly manner and then the definition of a poetics of disquiet constitutes the pivot between the reader’s responsibility and the authors’ in order to lead to responsible literature.

A cidade de Lisboa, que se lê nas páginas do Livro do Desassossego: composto por Bernardo Soares, ajudante de guarda-livros na cidade de Lisboa, de Fernando Pessoa, confirma-se como criação artística e se faz cidade literária, pelos olhos elaborados por Fernando Pessoa para o seu semi-heterônimo Bernardo Soares. Aproximar essa leitura de Lisboa de outra, também produzida por Fernando Pessoa para o guia de viagem Lisboa: o que o turista deve ver, ou seja, para uma obra de outra natureza que não a literária, permite, em nosso trabalho, uma abordagem estética e antropológica da percepção visual exercitada pelo autor. De um lado, no Livro do Desassossego, a construção de uma estética citadina particular e original a revelar uma cidade conformada pelo contraste espaço habitado e paisagem interior. De outro, um lugar tecido na memória do autor mais próximo do homem aparentemente real, a partir de sua identificação histórica com a cidade. / The city of Lisbon depicted in the pages of the Book of Disquiet: composed by Bernardo Soares, keep-book assistant in the city of Lisbon, written by Fernando Pessoa, is confirmed as an artistic creation and it is transformed into a literary city, by the eyes of Fernando Pessoa to his \"semiheteronym\" Bernardo Soares. Comparing this view of Lisbon to another one, also produced for Fernando Pessoa for the traveller\'s guide Lisbon: what the tourist should see - a not literary it -, allows, in our research, an aesthetic and anthropological approach of the visual perception attempted by the author. On one hand, in the Book of Disquiet, the building up of a certain original aesthetic city revealing a city conformed by the contrast inhabited space and interior landscape view. On the other hand, a place woven in the memory of the author, closer to the apparent real man, starting from his historical identification with the city.

A cidade de Lisboa, que se lê nas páginas do Livro do Desassossego: composto por Bernardo Soares, ajudante de guarda-livros na cidade de Lisboa, de Fernando Pessoa, confirma-se como criação artística e se faz cidade literária, pelos olhos elaborados por Fernando Pessoa para o seu semi-heterônimo Bernardo Soares. Aproximar essa leitura de Lisboa de outra, também produzida por Fernando Pessoa para o guia de viagem Lisboa: o que o turista deve ver, ou seja, para uma obra de outra natureza que não a literária, permite, em nosso trabalho, uma abordagem estética e antropológica da percepção visual exercitada pelo autor. De um lado, no Livro do Desassossego, a construção de uma estética citadina particular e original a revelar uma cidade conformada pelo contraste espaço habitado e paisagem interior. De outro, um lugar tecido na memória do autor mais próximo do homem aparentemente real, a partir de sua identificação histórica com a cidade. / The city of Lisbon depicted in the pages of the Book of Disquiet: composed by Bernardo Soares, keep-book assistant in the city of Lisbon, written by Fernando Pessoa, is confirmed as an artistic creation and it is transformed into a literary city, by the eyes of Fernando Pessoa to his \"semiheteronym\" Bernardo Soares. Comparing this view of Lisbon to another one, also produced for Fernando Pessoa for the traveller\'s guide Lisbon: what the tourist should see - a not literary it -, allows, in our research, an aesthetic and anthropological approach of the visual perception attempted by the author. On one hand, in the Book of Disquiet, the building up of a certain original aesthetic city revealing a city conformed by the contrast inhabited space and interior landscape view. On the other hand, a place woven in the memory of the author, closer to the apparent real man, starting from his historical identification with the city.

Ce travail doctoral en arts plastiques interroge les enjeux du non perçu de nos constructions spatiales, temporelles ou physiques et propose d’observer ce qui nous échappe, mais que nous vivons, ce qui nous touche ou nous traverse sans que nous le sentions. Il s’agit d’une étude du pouvoir discret de la contrepartie et de la manière dont certains gestes, certaines pratiques plastiques, poétiques, scientifiques la mettent en jeu. Une première séquence est consacrée aux métaphores du fil et du funambule, ils deviennent les modèles à partir desquels il est possible de penser les potentialités de l’inaperçu et d’envisager une forme de désorientation active. D’une part, la structure faite de fils de chaîne et de fils de trame du tissu permet de penser la valeur opératoire du vide. Cela, parce que c’est l’espace entre les fils de chaîne et les fils de trame qui induit la qualité de souplesse, de résistance ou d’opacité du tissu. C’est alors que l’interstice, l’intervalle ou l’entre-deux devient décisif. D’autre part, le funambule est celui qui agit sur le fil. Il adopte une posture risquée, éprise de déséquilibres, de doutes, d’hésitations, d’une attention qui doit être renouvelée à chaque pas au gré de ses sensations physiques et des conditions atmosphériques. Alors, les métaphores du fil et du funambule créent la scène imaginaire de nos propres désorientations face à ce qui se dérobe, face à ce qui, aux marges de nos espaces, de nos rythmes, de notre écoute ou de notre vision, ne se laisse pas facilement saisir. Une deuxième séquence s’efforce de pointer ce qui, dans notre environnement, fait de nous des funambules, ce qui nous déséquilibre ou nous désoriente. Quelles sont nos conditions physiques, physiologiques, psychologiques ou sociales du déséquilibre ? Qu’est-ce qui se loge au seuil de nos espaces, à la lisière de notre vision, au fond de notre écoute ? Comment certains gestes, certaines pratiques ouvrent notre regard à l’inaperçu de notre environnement et en révèlent les potentialités ? / This dissertation in Fine Arts questioned about the undetected of our creations, in space, in time or physically and is an invitation to observe what is easily missed, that touches and goes through us, without our noticing. It is a study on subtle power and how it influences certain movements, plastic, poetic and scientific practices. The first part will focus on metaphors surrounding the thread and the acrobat, they become the model to reflect upon the potential of the unnoticeable and to consider an active form of disorientation. On the one hand, structure made of thread and wefts of fabric allow us to think the value of empty spaces since it is these gaps that are responsible for the suppleness, the resistance or the opacity of the fabric. Then the interstice, the interval or the in-between become essential. On the other hand, the tightrope walker is the one acting on the rope. He is in a risky position, struggling with disequilibrium, doubts, hesitations and he needs to renew his attention after each step according to his physical feelings and atmospheric conditions. The metaphors of the tightrope walker creates an imaginary scenario of our own disorientations in front of what evades us, at the edge of our space, rhythm, vision or listening, which is not easily perceptible. The second part points out elements in our environment which make us become tightrope walkers by inducing unsteadiness and disorientation. What are the physical, physiological, psychological or social conditions for disequilibrium ? What can be accommodated at the limit of our space, at the edge of our vision and in the depth of our hearing ? How certain actions broaden our vision towards the unnoticeable of our environment and to reveal its potential ?

Este trabalho tem como objetivo analisar a importância social das formas estéticas abordadas pelos romances modernos de autoria dos artistas que formaram o grupo Orpheu, responsável pelo primeiro modernismo em Portugal. O corpus de análise é formado pelas obras A engomadeira, publicada em 1917, por José de Almada Negreiros; A confissão de Lúcio, publicada em 1914, por Mário de Sá-Carneiro; e Livro do desassossego, publicação póstuma com autoria de Fernando Pessoa. Para isso, são adotadas diversas teorias que vinculam o romance à sociedade, com uma atenção maior para Ascensão do romance, de Ian Watt. De acordo com ele, os elementos que caracterizaram o romance tradicional nos séculos XVIII e XIX são signos materiais que respondem ao processo de consolidação da classe burguesa. Dessa maneira, os textos analisados procuram a ruptura dos elementos apontados por Watt, o que revela uma atitude política de subversão dos signos burgueses no momento em que eles passam a estar em declínio no contexto europeu, com exceção de Portugal. Configura-se, portanto, como uma intervenção política a atitude desses três artistas. / This paper aims to analyze the social importance of aesthetic forms approached in modern novels by artists who formed the Orpheu group, which was responsible for the first modernism movement in Portugal. The corpus of analysis of this work is composed by the literary works The ironing girl (A engomadeira), published in 1917 by José de Almada Negreiros; Lucio’s confession (A confissão de Lúcio), published in 1914 by Mário de Sá-Carneiro; and The book of disquiet (Livro do desassossego), a posthumous publication authored by Fernando Pessoa. For this purpose, several theories that link novel to society are adopted, giving greater attention to The rise of the novel, by Ian Watt. According to this author, the elements that characterized the traditional novel in the Eighteenth and Nineteenth Centuries are material signs that respond to the process of consolidation of the bourgeois class. Therefore, the analyzed texts seek to break the elements mentioned by Watt, which reveal an attitude of subversion of bourgeois signs when they start to decline in the European context, with the exception of Portugal. Thus, the novels of these three artists are characterized as a political intervention.

Este trabalho tem como objetivo analisar a importância social das formas estéticas abordadas pelos romances modernos de autoria dos artistas que formaram o grupo Orpheu, responsável pelo primeiro modernismo em Portugal. O corpus de análise é formado pelas obras A engomadeira, publicada em 1917, por José de Almada Negreiros; A confissão de Lúcio, publicada em 1914, por Mário de Sá-Carneiro; e Livro do desassossego, publicação póstuma com autoria de Fernando Pessoa. Para isso, são adotadas diversas teorias que vinculam o romance à sociedade, com uma atenção maior para Ascensão do romance, de Ian Watt. De acordo com ele, os elementos que caracterizaram o romance tradicional nos séculos XVIII e XIX são signos materiais que respondem ao processo de consolidação da classe burguesa. Dessa maneira, os textos analisados procuram a ruptura dos elementos apontados por Watt, o que revela uma atitude política de subversão dos signos burgueses no momento em que eles passam a estar em declínio no contexto europeu, com exceção de Portugal. Configura-se, portanto, como uma intervenção política a atitude desses três artistas. / This paper aims to analyze the social importance of aesthetic forms approached in modern novels by artists who formed the Orpheu group, which was responsible for the first modernism movement in Portugal. The corpus of analysis of this work is composed by the literary works The ironing girl (A engomadeira), published in 1917 by José de Almada Negreiros; Lucio’s confession (A confissão de Lúcio), published in 1914 by Mário de Sá-Carneiro; and The book of disquiet (Livro do desassossego), a posthumous publication authored by Fernando Pessoa. For this purpose, several theories that link novel to society are adopted, giving greater attention to The rise of the novel, by Ian Watt. According to this author, the elements that characterized the traditional novel in the Eighteenth and Nineteenth Centuries are material signs that respond to the process of consolidation of the bourgeois class. Therefore, the analyzed texts seek to break the elements mentioned by Watt, which reveal an attitude of subversion of bourgeois signs when they start to decline in the European context, with the exception of Portugal. Thus, the novels of these three artists are characterized as a political intervention.

Este trabalho tem como objetivo analisar a importância social das formas estéticas abordadas pelos romances modernos de autoria dos artistas que formaram o grupo Orpheu, responsável pelo primeiro modernismo em Portugal. O corpus de análise é formado pelas obras A engomadeira, publicada em 1917, por José de Almada Negreiros; A confissão de Lúcio, publicada em 1914, por Mário de Sá-Carneiro; e Livro do desassossego, publicação póstuma com autoria de Fernando Pessoa. Para isso, são adotadas diversas teorias que vinculam o romance à sociedade, com uma atenção maior para Ascensão do romance, de Ian Watt. De acordo com ele, os elementos que caracterizaram o romance tradicional nos séculos XVIII e XIX são signos materiais que respondem ao processo de consolidação da classe burguesa. Dessa maneira, os textos analisados procuram a ruptura dos elementos apontados por Watt, o que revela uma atitude política de subversão dos signos burgueses no momento em que eles passam a estar em declínio no contexto europeu, com exceção de Portugal. Configura-se, portanto, como uma intervenção política a atitude desses três artistas. / This paper aims to analyze the social importance of aesthetic forms approached in modern novels by artists who formed the Orpheu group, which was responsible for the first modernism movement in Portugal. The corpus of analysis of this work is composed by the literary works The ironing girl (A engomadeira), published in 1917 by José de Almada Negreiros; Lucio’s confession (A confissão de Lúcio), published in 1914 by Mário de Sá-Carneiro; and The book of disquiet (Livro do desassossego), a posthumous publication authored by Fernando Pessoa. For this purpose, several theories that link novel to society are adopted, giving greater attention to The rise of the novel, by Ian Watt. According to this author, the elements that characterized the traditional novel in the Eighteenth and Nineteenth Centuries are material signs that respond to the process of consolidation of the bourgeois class. Therefore, the analyzed texts seek to break the elements mentioned by Watt, which reveal an attitude of subversion of bourgeois signs when they start to decline in the European context, with the exception of Portugal. Thus, the novels of these three artists are characterized as a political intervention.

La rencontre des patients addictés suscite fréquemment l’inquiétude. Celle-ci rend difficile l’exercice du soin, même spécialisé, et attaque ses conditions éthiques. Cette thèse se propose d’explorer l’expérience des professionnels de l’addictologie, dans la diversité de leurs approches et de leurs pratiques. Elle s’inscrit dans une épistémologie de la complexité et adopte une méthodologie complémentariste. Des discours socio-anthropologiques, philosophiques et psychanalytiques peuvent ainsi être mis en contact au profit d’une appréhension plurivoque de la problématique éthique et clinique de la relation de soin en addictologie. Dans un premier temps, nous avons exploré de manière qualitative l’expérience des soignants. L’étude « Éthique et Narrativité dans les Addictions » (EthNaA) nous a apporté de nombreuses données sur les sources et les effets de l’inquiétude dans le soin, ainsi que sur des voies de dégagement. Une lecture psychodynamique de ces résultats nous a permis d’extraire une première théorie de la relation de soin : dans la rencontre, soignant et patient se replient sur des positions narcissiques qui déterminent leurs représentations de l’autre et d’eux-mêmes, ainsi que leur modalités de lien ; alternativement monstres et héros, les acteurs s’agrippent et se rejettent dans un climat de défiance qui infiltre tous les espaces ; dans la douleur de cette expérience et dans la conscience des conséquences éthiques pour le patient, les professionnels cherchent des moyens de restaurer une confiance dans un soin de soi et une recherche de soutien à l’ « extérieur », sans toutefois pouvoir s’y engager. Dans un second temps, en tant qu’acteur de ce soin, il était nécessaire que nous présentions notre propre expérience, ainsi que des histoires cliniques, pour pouvoir prétendre soutenir un discours éthique. Cette expérience est très proche de celle des soignants d’EthNaA mais son exposé a permis de souligner l’ancrage intrapsychique des mouvements affectifs décrits précédemment. Cela nous a mis sur la voie d’une seconde théorie capable de soutenir des propositions de nature à restaurer le soin dans ses qualités éthiques et cliniques. La « relation inquiète » met en présence un patient souffrant dans une attente silencieuse, et un soignant désireux de s’investir mais vulnérable, en premier lieu du fait d’un affaiblissement de la fonction tierce en lui comme dans son cadre institutionnel. La relation de soin s’enferme alors dans une circularité qui évoque le cercle des attitudes de Jean-Paul Sartre, entre masochisme, haine, sadisme et amour. Cet amour, présent dans le discours des soignants, reste replié sur soi et défiant. Nous avons alors repris les idées des professionnels d’EthNaA et les avons complétées en proposant un souci de soi, resubjectivant et allié à un réinvestissement de la fonction tierce intériorisée. Cette nouvelle prise de position soignante, dans une affirmation du primat du tiers, doit permettre une reconnaissance de l’autre-patient comme sujet propre. Ce « jeu » entre les protagonistes doit s’inscrire dans une éthique simultanément exigeante et tolérante. La piste « amoureuse » ouverte par les soignants d’EthNaA peut alors rejoindre l’éthique de Vladimir Jankélévitch. La relation de soin entre deux sujets restaurés peut alors se relancer – portée par une nouvelle dialectique entre soin de soi et amour de l’autre, entre inquiétude saisissante et élancement, entre défiance et confiance – sur une trajectoire sinueuse et parfois chaotique, mais qui donne finalement au soin le dernier mot. / The encounter with addicted patients frequently arouses a feeling of disquiet. It renders the practice of care difficult, even in expert settings, and degrades its ethical conditions. The present work explores the experience of professionals from the field of addictions treatment taking account of the diversity of their approaches and practices. It is in line with an epistemology of the complexity and adopts a complémentariste methodology. In this way, sociological, philosophical and psychoanalytical theoretical corpus can be put in discussion in order to comprehend the complexity of the ethical and clinical questions emerging from the care relationship.In a first phase, we conducted a qualitative inquiry of the caregiver’s experience. The study “Éthique et Narrativité dans les Addictions” (EthNaA) provided us with numerous data on sources and effects of disquiet in the care setting, as well as on ways out. A psychodynamical reading of these results led us to a first theory of the care relationship: in the encounter, the caregiver and the patient both withdraw on narcissistic positions which determine how they depict one another and themselves, as well as their ways of establishing mutual bounds; alternatively monsters and heroes, the protagonists grab onto each other and reject each other in a climate of distrust which infiltrates all the areas of the relationship; through the pain of this experience and the consciousness of the ethical consequences for the patient, the caregivers seek resources allowing them to restore a trust by taking care of themselves and looking for support from the “outside”, but they still seem unable to commit themselves in this move.In a second phase, as a professional enrolled in the care of addicted patients, it was necessary that we exhibit our own experience and clinical stories in order to support an ethical stand. Our experience is very similar to the caregiver’s in the study but its report allowed us to underline the intrapsychic integration of the emotional dynamics previously described. It opened the way of a second theory able to support innovative propositions likely to restore the care in its ethical and clinical qualities.The “disquiet relationship” brings a suffering patient in a silent expectation face to face with a caregiver, willing to get involved but vulnerable, in the first place because of the weakening of the function of the third position in the caregiver’s thought as well as in the institutional frame. The care relationship then locks itself in a circularity witch evokes the circle of attitudes described by Jean-Paul Sartre among masochism, hatred, sadism and love. This love, present in the caregiver’s discourses, remains withdrawn into itself and distrustful. We then started again from the caregiver’s ideas, completing them by introducing a care of the self able to restore the subjectivity of the agent through its combination with the reinvestment of the function of the third position in the caregiver’s thought. This new caring stand, through the assertion of the primacy of the third position, shall allow the acknowledgement of the patient as a subject. This “play” between protagonists shall place itself in an ethic simultaneously demanding and tolerant. The “amorous” track opened by the caregivers of the study can then rejoin the ethic of Vladimir Jankélévitch. The care relationship between two restored subjects can then make a fresh start – supported by a new dialectic between care of the self and love of the other, between piercing disquiet and anxious yearning, between distrust and trust – on a sinuous and sometimes chaotic trajectory, but which finally gives to the care the last word.