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The goal of this thesis is to shed light upon a particular style of writing, namely the rhetoric of the extreme, which characterizes the oeuvre of Anne Hebert. Many facets of this rhetoric are reflected in her work: the use of words referring explicitly to the notion of the extreme ("toujours", "jamais", etc.); formation of isotopies (extreme wealth or extreme poverty); dualistic themes; ethical polarisation; the elaboration of strongly contrasting characters (Bernard and Heloise in the novel Heloise); and the use of the trope which unifies two extremes: the oxymoron. / Rhetoric, in the modern sense of the word (following the work of the Groupe Mu, Gerard Genette and Roland Barthes) enables, on the one hand, a lexical analysis of the vocabulary of the extreme (such as "toujours", "rien", "pas un", etc.), and on the other, through the character analysis of Elisabeth Rolland, heroine of Kamouraska, renders the repeated use of the oxymoron meaningful. / Finally, the adoption of a holistic viewpoint highlights an evolution in her style. Given the possible juxtapositions inherent in a Manichean universe (opposition in her earliest and latest works, union in her three novels from the 1970s), two different worldviews are revealed which correspond, for the author, to two stylistic modes.

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The inevitable (creativity). Between the ages of seven and fifteen years, Paul had sexual intercourses with his father. He was introduced to this state of matter by pornographic photos. Described as being representations of love, and thinking as such, he accepts to imitate the depicted characters, at the request of his father. From the Laurentians to Montreal, Paul and his father "will make love" everywhere: Onboard the car, at home, in the washroom of a school... They "will make love" despite questions from a mother who seeks to know the truth and whom Paul considers too weak to help him put an end to a relationship that becomes more and more heavier. Finally, Paul is able to say "no" to his father at adolescence. / Writing incest (critic). Studying incest literature in Les Enfants du sabbat by Anne Hebert. Taboo that needs to be shut of. But can not be because of the enchanting attraction of transgression; incest is shown and is said, it uncovers itself like a souvenir which repeats, here again, itself, hides behind lust, mysticism, whereas the voluptuous relationship is disembodied. This art of expression of disappearance which is found at each level in the text (tense used in the narration, characters, space) loans also to incest its defence mechanism and censorship as the symbolical exclusion, identification to the aggressor, and the will to succeed which is initialized by the confession of the victim denounciating the crime against human nature.

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