L’Œuvre en prose à laquelle aspire Paul Valéry a pour fin de réunir la beauté, qui dépend de la sensation, avec la vérité que la pensée poursuit. Comment respecter cette quête du vrai en créant une belle œuvre ? Dans la présente étude, il nous a semblé important de préciser que l’objet de la recherche de Valéry est de représenter activement la pensée dans l’esprit du lecteur, et non de lui rapporter les résultats de ses réflexions à travers une simple description. Il existe une différence marquée entre ces deux formes d’écriture : la deuxième est faite dans le but de transmettre des idées déjà abouties, et manque, selon Valéry, d’une prise de conscience de la vraie possibilité du langage. Le premier type d’écriture est supérieur à description. Le travail et la problématique de l’auteur, comment écrire, sont en effet alors élargis à la question de comment évoquer les idées chez le lecteur, et même comment les contrôler. L’écrivain, qui règne ordinairement sur le papier, envahit jusqu’à l’imaginaire du lecteur. Cette intention n’est pas une affaire vague et éphémère : il s’agit d’une théorie valérienne, et ensuite, d’une tentative de mise en pratique de celle-ci. Ce que Valéry cherche est d’ordonner les mouvements intérieurs avec clarté et logique. Pour atteindre ce but, la création d’un nouveau langage est un chantier de la réflexion valéryenne. / In this study , we felt it was important to clarify that the purpose of Valery's researchis to actively represent thought in the mind of the reader , not himreport the results of his thoughts through a simple description. There is amarked difference between these two forms of writing difference : the second is made in order toconvey ideas already accomplished , and lack , according to Valery, an awareness of thereal possibility of language. The first type of writing is above description. workand the problem of the author, how to write, are indeed then extended to the question ofdiscuss how the ideas in the reader , and even how to control them. The writer, whoreign usually on paper, to invade the reader's imagination . this intentionis not a vague and fleeting affair : it is a theory Valerian , and then aattempted implementation thereof . What Valery is looking to orderRelocating with clarity and logic. To achieve this object , the creation of a newlanguage is a site of Valery's reflection.

No intuito de realizar um «eu puro» («moi pure»), o poeta Paul Valéry (1871- 1945) dedica-se ao culto do «Ídolo do intelecto» («Idole de lintellect»), a um método cético de auto-consciência, expresso numa escrituração extremamente fragmentada sobre os processos mentais e o fazer artístico (na sua obra pública e, principalmente, nos seus Cahiers). Uma das principais conseqüências desse método é uma digressiva e ambígua critica à filosofia, a qual esta Tese postula e desenvolve mediante os seguintes estudos: sobre a elaboração de um modo de vida relativamente autônomo, simultaneamente prático e contemplativo (principalmente nos seus ensaios sobre Léonard de Vinci e Edmond Teste); sobre a diferença entre filosofia e ciência, na perspectiva de que todo saber é poder; sobre a compreensão dos problemas metafísicos como contra-sensos, como resultados do «automatismo verbal» («automatisme verbal»), da falta de consciência do funcionamento da linguagem; sobre a poética da poesia pura como abolição do récit e conciliação entre poesia e pensamento abstrato; sobre a inversão do platonismo, em obras híbridas de ficção (principalmente nos seus diálogos socráticos, como Lâme et la danse e Eupalinos - Ou larchitecte). Em todos esses estudos, a filosofia é compreendida não como uma ciência, mas, tal como a poesia, como um gênero artístico, uma forma pessoal de organizar esteticamente o caos do mundo. / In order to realize a «pure self» («moi pure»), the poet Paul Valéry (1871-1945) dedicates to the «intellect Idol» («Idole de lintellect») cult, a self-consciousness skeptic method, expressed in an extremely fragmented writing about the mental processes and the artistic making (in his public work and, mainly, in his Cahiers). One of the main consequences of this method is a digressive and ambiguous critic of philosophy, which the present Thesis postulates and develops through the following studies: about the elaboration of a relatively autonomous life style, at the same time practical and contemplative (mainly in his Léonard de Vinci and Edmond Teste essays); about the difference between philosophy and science, understanding that all knowledge is power; about the comprehension of metaphysical problems as nonsense, as result of the «verbal automatism» («automatisme verbal»), the lack of the language operation consciousness; about the pure poetry poetic as the récit abolition and conciliation between poetry and abstract thought; about the Platonism inversion, in hybrids works of fiction (mainly in his socratic dialogues, as Lâme et la danse and Eupalinos - Ou larchitecte). In all these studies, philosophy is understood not as a science, but, such as poetry, as an artistic gender, a personal form of organizing aesthetically the world chaos.

No intuito de realizar um «eu puro» («moi pure»), o poeta Paul Valéry (1871- 1945) dedica-se ao culto do «Ídolo do intelecto» («Idole de lintellect»), a um método cético de auto-consciência, expresso numa escrituração extremamente fragmentada sobre os processos mentais e o fazer artístico (na sua obra pública e, principalmente, nos seus Cahiers). Uma das principais conseqüências desse método é uma digressiva e ambígua critica à filosofia, a qual esta Tese postula e desenvolve mediante os seguintes estudos: sobre a elaboração de um modo de vida relativamente autônomo, simultaneamente prático e contemplativo (principalmente nos seus ensaios sobre Léonard de Vinci e Edmond Teste); sobre a diferença entre filosofia e ciência, na perspectiva de que todo saber é poder; sobre a compreensão dos problemas metafísicos como contra-sensos, como resultados do «automatismo verbal» («automatisme verbal»), da falta de consciência do funcionamento da linguagem; sobre a poética da poesia pura como abolição do récit e conciliação entre poesia e pensamento abstrato; sobre a inversão do platonismo, em obras híbridas de ficção (principalmente nos seus diálogos socráticos, como Lâme et la danse e Eupalinos - Ou larchitecte). Em todos esses estudos, a filosofia é compreendida não como uma ciência, mas, tal como a poesia, como um gênero artístico, uma forma pessoal de organizar esteticamente o caos do mundo. / In order to realize a «pure self» («moi pure»), the poet Paul Valéry (1871-1945) dedicates to the «intellect Idol» («Idole de lintellect») cult, a self-consciousness skeptic method, expressed in an extremely fragmented writing about the mental processes and the artistic making (in his public work and, mainly, in his Cahiers). One of the main consequences of this method is a digressive and ambiguous critic of philosophy, which the present Thesis postulates and develops through the following studies: about the elaboration of a relatively autonomous life style, at the same time practical and contemplative (mainly in his Léonard de Vinci and Edmond Teste essays); about the difference between philosophy and science, understanding that all knowledge is power; about the comprehension of metaphysical problems as nonsense, as result of the «verbal automatism» («automatisme verbal»), the lack of the language operation consciousness; about the pure poetry poetic as the récit abolition and conciliation between poetry and abstract thought; about the Platonism inversion, in hybrids works of fiction (mainly in his socratic dialogues, as Lâme et la danse and Eupalinos - Ou larchitecte). In all these studies, philosophy is understood not as a science, but, such as poetry, as an artistic gender, a personal form of organizing aesthetically the world chaos.

Made available in DSpace on 2014-06-12T18:31:36Z (GMT). No. of bitstreams: 2 arquivo3876_1.pdf: 543859 bytes, checksum: 395ad9bc7185235a22fddb70c99c99bd (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2009 / A tese aqui apresentada visa à comparação dos projetos literários de Paul Valéry e Osman Lins no que diz respeito ao elogio da forma literária, o trabalho apurado com a linguagem e o compromisso social como exploradores e ampliadores da realidade. Para tal, revisitamos o livro Guerra sem testemunhas de Osman Lins e observamos o modo como esse autor está familiarizado com a poética valeriana de composição, o rigor, a geometria; como também está atualizado com a recepção do poeta francês enquanto escritor que soube fazer uso do acaso na elaboração da obra literária e não enquanto simples formalista. O presente trabalho inserese no âmbito da crítica enquanto criação, ou no dizer de Leyla Perrone- Moisés (1998), no livro Altas literaturas, característica principal da modernidade literária e dos escritores empenhados em refletir sobre o ato de escrever. A partir da análise comparativa das poéticas desses autores mostramos como a concepção de forma literária para eles envolve uma postura ativa do profissional das letras no que diz respeito ao ensino da educação literária, uma revalorização da análise do texto literário considerando seu todo, fazendo valer o que João Alexandre Barbosa (1990) denominou de leitura intervalar, os elos entre a literatura e outras áreas do conhecimento

A tese se dedica ao estudo das relações entre o poético e o político na escritura de Paul Valéry entre 1940 e 1945, anos arrasados pela segunda guerra e também os últimos da vida do escritor. O período estudado começa, assim, no verão de 1940, quando a França perde a batalha contra os alemães, Paris é ocupada pelos nazistas e Valéry, abrigado no norte do país, põe-se a escrever o terceiro Fausto que ele há tempos desejava compor. A pesquisa se estende até maio de 1945, pleno apogeu da Libération Française, quando o escritor publica em jornal gaulista (aquelas que [não] deveriam ser) as Ultima Verba do vencedor do conflito, e termina o poema em prosa LAnge depois de duas décadas de trabalho sobre esse texto. Seguindo a escritura diária dos cahiers de Valéry e as notas do curso de poïética ministrado pelo poeta no Collége de France naqueles anos, a tese busca apreender como as estratégias poéticas das obras analisadas Ultima Verba, LAnge e Mon Faust são concebidas para enfrentar os acontecimentos esmagadores daquele período. Com efeito, elas modulam recursos sensíveis, significativos e formais do ato poético, pondo em contradicção as forças heterogêneas do discurso e sua dicção, da voz e do pensamento (lógos e foné), ser e convenção, estabelecendo uma implicação recíproca do poético e do político: o poeta como político profundo, entre as majorités do som e do sentido. Essa implicação põe em jogo a autonomia e a soberania da linguagem poética, os modos de circulação do discurso numa sociedade democrática e o gesto do poeta frente às aporias do processo de escrita. Desse modo, procura-se menos revelar a política de suas escolhas (as vias que o escritor abre ou fecha; ainda que isso seja parte do problema, não é o principal) do que pensar na política de sua poética, perceptível na modulação das diferentes maneiras de ver que compõem o poema, uma modulação que cala ou interrompe, escuta ou prolonga suas hesitações. Assim, veremos que os dilemas da fiducia política e da ciência moderna elaborados nos brouillons do ciclo fáustico e nas notas do curso de poïética reencontram a hesitação prolongada, o inacabamento e infinitização contínua do ato poético, sempre em curso de driblar injunções fiduciárias e técnicas, num momento em que a Europa moderna tinha mais do que nunca carência de repensar os pactos, moedas, projetos e o próprio para, [vencedor, nesse] momento em curso na literatura e na comunidade. / The thesis aims to study the relations between the poetic and the political in the writings of Paul Valéry from 1940 to 1945, a time crushed by the war and the last years of the poets life. This study covers a period that goes from the summer of 1940 during the last weeks of the Battle of France, when Paris was occupied by the germans and the poet, sheltered in the countrys north, starts to write the third Faust that for a long time he wished to write up to may 1945, in the pinnacle of the Libération Française, when the writer publishes in a gaullist journal (those that should [not] be) the ultima verba of the wars winner, and completes, after two decades of writing labour, the prose poem LAnge. By following the the cahiers daily writings and the Collège de Frances course in poetics lesson notes of those years, we seek to understand the strategies conceived to confront the periods crushing events, specially in the analysed texts Ultima Verba, LAnge and Mon Faust. In fact, they modulate the aesthetic infinitys sensible, significant and formal resources in the contradiction of the heterogeneous forces of the discourse and its diction (its elocution), voice and thought (logos and phone), being and convention, thus establishing a reciprocal implication of the poetic and the political: the poet as a profound politician who works between the majorities of sound and sense. This implication reflects upon the poetic languages autonomy and sovereignty, the discourse circulation modes in a democratic society and the poets act in relation to the writing process issues. Thus, this gesture would be put in place less for revealing the politics in Valérys choices (the paths he opens or closes; this is also part of the problem, but it is not the main question) than for thinking about his poetics own politics, one deployed in the modulation of the different manners of seeing implicated in the poem, a modulation that silents or stops, listens or prolongs their hesitations. Then, we shall see that the fiducias politics and modern science dilemmas elaborated by the faustic cycle drafts and by the course in poetics lesson notes find theirselves in the company of the verse as prolonged hesitation, of the poetics act incompleteness and infinitization, always in the process of dribbling the fiduciary and technical injunctions, in a time when modern Europe had more than ever to rethink the pacts, currencies, projects and even the stop, [winner, in this] moment that had currency in literature and community.

A tese se dedica ao estudo das relações entre o poético e o político na escritura de Paul Valéry entre 1940 e 1945, anos arrasados pela segunda guerra e também os últimos da vida do escritor. O período estudado começa, assim, no verão de 1940, quando a França perde a batalha contra os alemães, Paris é ocupada pelos nazistas e Valéry, abrigado no norte do país, põe-se a escrever o terceiro Fausto que ele há tempos desejava compor. A pesquisa se estende até maio de 1945, pleno apogeu da Libération Française, quando o escritor publica em jornal gaulista (aquelas que [não] deveriam ser) as Ultima Verba do vencedor do conflito, e termina o poema em prosa LAnge depois de duas décadas de trabalho sobre esse texto. Seguindo a escritura diária dos cahiers de Valéry e as notas do curso de poïética ministrado pelo poeta no Collége de France naqueles anos, a tese busca apreender como as estratégias poéticas das obras analisadas Ultima Verba, LAnge e Mon Faust são concebidas para enfrentar os acontecimentos esmagadores daquele período. Com efeito, elas modulam recursos sensíveis, significativos e formais do ato poético, pondo em contradicção as forças heterogêneas do discurso e sua dicção, da voz e do pensamento (lógos e foné), ser e convenção, estabelecendo uma implicação recíproca do poético e do político: o poeta como político profundo, entre as majorités do som e do sentido. Essa implicação põe em jogo a autonomia e a soberania da linguagem poética, os modos de circulação do discurso numa sociedade democrática e o gesto do poeta frente às aporias do processo de escrita. Desse modo, procura-se menos revelar a política de suas escolhas (as vias que o escritor abre ou fecha; ainda que isso seja parte do problema, não é o principal) do que pensar na política de sua poética, perceptível na modulação das diferentes maneiras de ver que compõem o poema, uma modulação que cala ou interrompe, escuta ou prolonga suas hesitações. Assim, veremos que os dilemas da fiducia política e da ciência moderna elaborados nos brouillons do ciclo fáustico e nas notas do curso de poïética reencontram a hesitação prolongada, o inacabamento e infinitização contínua do ato poético, sempre em curso de driblar injunções fiduciárias e técnicas, num momento em que a Europa moderna tinha mais do que nunca carência de repensar os pactos, moedas, projetos e o próprio para, [vencedor, nesse] momento em curso na literatura e na comunidade. / The thesis aims to study the relations between the poetic and the political in the writings of Paul Valéry from 1940 to 1945, a time crushed by the war and the last years of the poets life. This study covers a period that goes from the summer of 1940 during the last weeks of the Battle of France, when Paris was occupied by the germans and the poet, sheltered in the countrys north, starts to write the third Faust that for a long time he wished to write up to may 1945, in the pinnacle of the Libération Française, when the writer publishes in a gaullist journal (those that should [not] be) the ultima verba of the wars winner, and completes, after two decades of writing labour, the prose poem LAnge. By following the the cahiers daily writings and the Collège de Frances course in poetics lesson notes of those years, we seek to understand the strategies conceived to confront the periods crushing events, specially in the analysed texts Ultima Verba, LAnge and Mon Faust. In fact, they modulate the aesthetic infinitys sensible, significant and formal resources in the contradiction of the heterogeneous forces of the discourse and its diction (its elocution), voice and thought (logos and phone), being and convention, thus establishing a reciprocal implication of the poetic and the political: the poet as a profound politician who works between the majorities of sound and sense. This implication reflects upon the poetic languages autonomy and sovereignty, the discourse circulation modes in a democratic society and the poets act in relation to the writing process issues. Thus, this gesture would be put in place less for revealing the politics in Valérys choices (the paths he opens or closes; this is also part of the problem, but it is not the main question) than for thinking about his poetics own politics, one deployed in the modulation of the different manners of seeing implicated in the poem, a modulation that silents or stops, listens or prolongs their hesitations. Then, we shall see that the fiducias politics and modern science dilemmas elaborated by the faustic cycle drafts and by the course in poetics lesson notes find theirselves in the company of the verse as prolonged hesitation, of the poetics act incompleteness and infinitization, always in the process of dribbling the fiduciary and technical injunctions, in a time when modern Europe had more than ever to rethink the pacts, currencies, projects and even the stop, [winner, in this] moment that had currency in literature and community.

Comprendre l'Esprit achoppe au Corps : la réflexion sur l'humain menée par Paul Valéry, au delà de la méthode analytique rigoureuse qu'il s'est imposé, ne peut être amputée d'une pensée de la corporalité. Précisément, de la confrontation de la pureté de l'Esprit et de la finitude du corps ancré dans la contingence du Monde jaillit une écriture de la souffrance et du manque affleurant à l'extrême de l'être, entre les limites floues d'un dedans et d'un dehors. Notre recherche tend à cerner les différentes structures scripturales du corps dans l'oeuvre de Valéry afin de révéler une « tache obscure » (ou Quatrième Corps) dans l'écart qui résiste à la transcription mais contient la clef de l'indicible. Les représentations valéryennes du corps, riches et complexes, se partagent entre une pensée organisant le corps en quatre pôles de perception (Mon-Corps, Corps de l'apparence, Corps-Machine, et Quatrième Corps) et une poétique texturisant une chair plurielle, brutalisée ou réifiée, dont les images se moulent sur une psyché prisonnière. En étudiant le mouvement entre pas et danse, le concept de la ritournelle s'impose, sur un schéma identique aux jeux d'écritures valéryens, pour comprendre les (dé)territorialisations multiples d'un corps vers le monde et vers sa profondeur. Valéry tente une cartographie ou « topologie » du corps réel et imaginaire en se référant à des outils biologiques, mathématiques (Riemann) et mythologiques (ouroboros) propices à incarner le passage de l'esprit au corps et surtout de l'ineffable zone corporelle. Enfin, l'approche phénoménologique de Husserl apporte un ultime éclairage sur les modalités d'inscription de la chair dans ses rapports intimes à autrui. / Understanding the Mind stumbles over the Body: the reflexion on the human led by Paul Valéry, beyond the strict analytical method he set for himself, cannot be severed from a thinking of corporeality. Precisely, out of the confrontation of the purity of the Mind and the finitude of the body anchored in the contingency of the World springs a writing of suffering and longing showing through the surface of the extremity of being, between the blurred limits of an inside and an outside. Our research aims to define the different scriptural structures of the body in the work of Valéry, so as to reveal a « dark stain » (or Fourth Body) in the gap that resists transcription but contains the key to the unspeakable. The Valeryan representations of the body, rich and complexe, are shared between a thinking organizing the body into four poles of perception (« Mon-Corps »,Body of appearance, Machine-Body and Fourth Body) and a poetics texturising a plural, brutalized or reified flesh whose images mold themselves around a trapped psyche. When studying the movement between step and danse, the ritornello concept imposes itself, following an outline identical to the Valeryan play on writing, to understand the multiple (de)territorializations of a body towards the world and towards its depth. Valéry attempts a mapping or « topology » of the real and imaginary body by referring to biological, mathematical (Riemann) and mythological (ouroboros) tools favourable to embodying the passage from mind to body, and especially through the ineffable bodily area. Husserl's phenomenology provides a final light on the way the flesh inscribes itself in its intimate relationship to the other.

The German poet Rainer Maria Rilke was proficient in languages, and his favorite one was French. He had lived in Paris and had many friends in French literary circles. He exchanged letters with some of them before he even met them personally; such was the case with the French poet and writer Paul Valéry. However, before the two poets met, a “meeting of the minds” had taken place in the year 1921. In the spring of 1921, after a lengthy period of silence, Rilke came across a copy of the Nouvelle Revue Française, a famous literary review, where Valèry had published his poem Le Cimetière Marin. Rilke's reaction was one of great enthusiasm and he began to read every work ever published by Valèry. As he learned more about the author, he became aware of various traits that they had in common; for instance, Valèry had also waited for inspiration for nearly twenty-five years, during which time he had devoted himself to the study of mathematics. Rilke saw that this patience had been well rewarded, the result being such works as the long poem Le Cimetière Marin and the two dialogues Eupalinos ou l’Architecte and L’Ame et la Danse. This last work, published in December 1921, particularly impressed Rilke, and he voices his enthusiasm in numerous letters. The purpose of this thesis is to show the existence of a relationship between Valèry’s L’Ame et la Danse and Rilke's Sonette an Orpheus -- written in February 1922 -- and how the death of a young dancer, Wera Ouckama Knoop, served as a “catalyst” and prompted the birth of the sonnets. The title “an Orpheus” will be explained by the fact that Rilke had previously dealt with the myth of Orpheus in various works, and that he saw a rapport between his own thoughts on the subject and the way Valèry handled it in his works. The numerous themes and symbols common to both works, and particularly the theme of metamorphosis, are the subject of an investigation, which leads to the influence of the dialogue on the sonnets, as well as to the possible influence of other works by Valèry. In a special chapter, a discussion is undertaken to prove that dance is a mostly narcissistic art, and to examine the attitude of both poets toward it. The conclusion shows that, in spite of their different outlooks on poetry and the world, Rilke and Valery are an example of elective affinity (Wahlverwandtschaft) between two great minds.

L'Œuvre en prose à laquelle aspire Paul Valéry a pour fin de réunir la beauté, qui dépend de la sensation, avec la vérité que la pensée poursuit. Comment respecter cette quête du vrai en créant une belle œuvre ? Dans la présente étude, il nous a semblé important de préciser que l'objet de la recherche de Valéry est de représenter activement la pensée dans l'esprit du lecteur, et non de lui rapporter les résultats de ses réflexions à travers une simple description. Il existe une différence marquée entre ces deux formes d'écriture : la deuxième est faite dans le but de transmettre des idées déjà abouties, et manque, selon Valéry, d'une prise de conscience de la vraie possibilité du langage. Le premier type d'écriture est supérieur à description. Le travail et la problématique de l'auteur, comment écrire, sont en effet alors élargis à la question de comment évoquer les idées chez le lecteur, et même comment les contrôler. L'écrivain, qui règne ordinairement sur le papier, envahit jusqu'à l'imaginaire du lecteur. Cette intention n'est pas une affaire vague et éphémère : il s'agit d'une théorie valérienne, et ensuite, d'une tentative de mise en pratique de celle-ci. Ce que Valéry cherche est d'ordonner les mouvements intérieurs avec clarté et logique. Pour atteindre ce but, la création d'un nouveau langage est un chantier de la réflexion valéryenne.

Dans le cadre du projet de « maintenir ou accroître l'habitabilité du monde » (Ezio Manzini, 1991), nous interrogeons la manière de penser l’habiter par le design, qui rencontre de notre point de vue la question des enveloppes de l'homme, artificielles versus biologiques, matérielles versus virtuelles. Le cas de l’habit, hypothétique enveloppe habitable dérivée du vêtement, première architecture selon Gottfried Semper et le « principe du revêtement », retient tout particulièrement notre attention. Le sujet est abordé par une théorisation située à partir d’un projet expérimental personnel de conception et fabrication d’enveloppes textiles, qui attesta d’une rationalité et d’une expansivité tout à fait singulières. Son étude est conduite par une méthode poïétique, au sens de Paul Valéry, qui combine une étude herméneutique des productions, une exégèse de la nature systémique de la démarche (programme et émergences), ainsi qu’une exégèse complémentaire du travail technique en actes (facture et irrégularités). La transdisciplinarité inhérente à la problématique est ainsi envisagée à partir de la pensée de l’art textile de Semper, la pensée poétique et épistémologique de Valéry, et la pensée esthétique complexe issue des sciences du vivant. La construction théorique nous emporte à suggérer, en regard de l’habitabilité, la perspective d’un nouveau paradigme, la textilité. / In context of the project intended to « maintain or increase the habitability of the world » (Ezio Manzini, 1991), we question the way of thinking the dwelling by design, which meets, according to us, the question of human envelopes, artificial versus biological, material versus virtual. The case of the habit, hypothetical inhabitable envelope derived from garment, primary architecture according to Gottfried Semper and the “theory of clothing”, particularly focuses our attention. The subject is approached by a situated theorizing from a personal experimental project of conception and manufacture of textile envelopes, which demonstrated a rationality and expansiveness quite singular. The study is leaded by a poïetic method, as defined by Paul Valéry, combining an hermeneutical study of production, an exegesis of the systemic nature of the process (program and emergences), and an additional exegesis of the technical work through the acts (craft and irregularities). The inherent transversality of the problem is thus considered with means of the thought of textile art of Semper, the poetic and epistemological thought of Valéry, and the complex aesthetic thought outcome from of the life sciences. The theoretical construction takes us to suggest, in comparison with the one of habitability, the way to a new paradigm of textility.