A presente dissertação é resultante da experiência em distintos espaços clínicos com pacientes psicóticos e, em especial, em oficinas terapêuticas de música. A escrita busca investigar os possíveis efeitos do trabalho com a música na clínica da psicose. Para tanto, a primeira parte do trabalho trata de entrar em compasso com o leitor, situando-o com relação àquilo que entendemos por estruturação psicótica desde a perspectiva psicanalítica. É desde essa mesma perspectiva que situamos o campo de experiência e o método da pesquisa. Nesse sentido partimos de duas questões principais: uma delas diz respeito à narração, enquanto possibilidade de transmissão da experiência do inconsciente; a outra, ao caráter ficcional do que se produz a partir da experiência clínica. Apoiados em Freud, principalmente através do texto Construções em Análise, de 1937, é que sustentamos a forma de apresentação do que intitulamos “Memórias da Clínica”. Três fragmentos da experiência clínica colocam em relação as questões centrais do trabalho: a clínica da psicose e a música. A primeira memória acontece em uma oficina de música, inserida em um CAPS da cidade de Porto Alegre. No dilúvio de palavras de Julia escutamos o aprisionamento à palavra do Outro e a possibilidade de que, através da música, o sujeito possa tomar a palavra, colocando-se mais em consonância com o tempo do Outro e dos outros A segunda, surgida em um acompanhamento terapêutico, nos coloca a seguinte pergunta: como calar o Outro? Aqui também foi através da música que essa possibilidade surgiu. E, finalmente, a terceira memória cujo contexto é a escuta individual de uma paciente em uma clínica-escola. Nessa cena a voz, enquanto puro objeto, assegura uma função de presença. As memórias nos levaram aos caminhos da constituição do sujeito. Tendo a psicose e a música como guias, nos aventuramos por um percurso de pesquisa que reuniu operadores conceituais essenciais na aposta de que um sujeito pode advir, tais como: pulsão invocante, o fort-da, o espelho, alíngua. Trabalhar com a espera e com a abertura de intervalos é um desafio constante na escuta de psicóticos. Em nossa experiência, a música mostrou-se uma via potente nesse trabalho de criar intervalos. Através das variações do objeto da pulsão invocante que a música coloca em jogo, a palavra pode voltar a circular. Dar a palavra ao sujeito: não é disso que se trata na psicanálise? E que efeitos pode ter a música nessa operação? Dessa análise decanta a questão do silêncio, enquanto um elemento essencial na direção do tratamento nas psicoses. / The present dissertation is the result of trials in different clinical spaces with psychotic patients and, especially, in therapeutical music workshops. The writing seeks to investigate the possible effects of the work with music in the psychosis clinic. For such, the first part of the work tries to explain the reader, what we understood as a psychotic structuring under the psychoanalytic perspective. It is from that same perspective that we explain the field of experience and the research method. In that sense, we start from two main subjects: one of them concerns the narration, as a possibility of transmission of the unconscious experience; the other, the ficcional character that is produced starting from the clinical experience. Based on Freud, mainly through the Constructions in Analysis text, from 1937, we sustain the presentation form entitled “Memoirs of the Clinic.” Three fragments from the clinical experience which relate the central subjects of the work: the psychosis clinic and music. The first memory happens at a music workshop, inserted in a CAPS (Psycho-social Service Center) of the city of Porto Alegre. In the flood of Julia´s words we heard the imprisonment to the word of the Other and the possibility that, through music, the subject may take the word, becoming more in consonance with the time of the Other and the other ones. The second, appeared in a therapeutic assistance, places the following question: how to silence the Other? Here it was also through music that this possibility appeared. And, finally, the third memory whose context is the individual listening of a patient in a school clinic. In that scene, the voice, as a pure object, takes a presence function. The memoirs took us to the paths of the constitution of the subject. Taking the psychosis and the music as guides, we ventured in that primordial operation, through subjects as the invoking pulsion, fortda, the mirror, the language: essential concepts and operations in the hope that a subject may come. To work with the waiting and with the opening of intervals is a constant challenge in the listening of psychotics. In our experience, the music has appeared as a potent path in that work of creating intervals. Through the variations of the object of the invoking pulsion that the music turns on, the word circulates again. To give the word to the subject: isn’t that dealt with in psychoanalysis? And what effects may the music have in that operation? From that analysis upsurges the subject of silence, as an essential element in the direction of the psychoses treatment.

A presente dissertação é resultante da experiência em distintos espaços clínicos com pacientes psicóticos e, em especial, em oficinas terapêuticas de música. A escrita busca investigar os possíveis efeitos do trabalho com a música na clínica da psicose. Para tanto, a primeira parte do trabalho trata de entrar em compasso com o leitor, situando-o com relação àquilo que entendemos por estruturação psicótica desde a perspectiva psicanalítica. É desde essa mesma perspectiva que situamos o campo de experiência e o método da pesquisa. Nesse sentido partimos de duas questões principais: uma delas diz respeito à narração, enquanto possibilidade de transmissão da experiência do inconsciente; a outra, ao caráter ficcional do que se produz a partir da experiência clínica. Apoiados em Freud, principalmente através do texto Construções em Análise, de 1937, é que sustentamos a forma de apresentação do que intitulamos “Memórias da Clínica”. Três fragmentos da experiência clínica colocam em relação as questões centrais do trabalho: a clínica da psicose e a música. A primeira memória acontece em uma oficina de música, inserida em um CAPS da cidade de Porto Alegre. No dilúvio de palavras de Julia escutamos o aprisionamento à palavra do Outro e a possibilidade de que, através da música, o sujeito possa tomar a palavra, colocando-se mais em consonância com o tempo do Outro e dos outros A segunda, surgida em um acompanhamento terapêutico, nos coloca a seguinte pergunta: como calar o Outro? Aqui também foi através da música que essa possibilidade surgiu. E, finalmente, a terceira memória cujo contexto é a escuta individual de uma paciente em uma clínica-escola. Nessa cena a voz, enquanto puro objeto, assegura uma função de presença. As memórias nos levaram aos caminhos da constituição do sujeito. Tendo a psicose e a música como guias, nos aventuramos por um percurso de pesquisa que reuniu operadores conceituais essenciais na aposta de que um sujeito pode advir, tais como: pulsão invocante, o fort-da, o espelho, alíngua. Trabalhar com a espera e com a abertura de intervalos é um desafio constante na escuta de psicóticos. Em nossa experiência, a música mostrou-se uma via potente nesse trabalho de criar intervalos. Através das variações do objeto da pulsão invocante que a música coloca em jogo, a palavra pode voltar a circular. Dar a palavra ao sujeito: não é disso que se trata na psicanálise? E que efeitos pode ter a música nessa operação? Dessa análise decanta a questão do silêncio, enquanto um elemento essencial na direção do tratamento nas psicoses. / The present dissertation is the result of trials in different clinical spaces with psychotic patients and, especially, in therapeutical music workshops. The writing seeks to investigate the possible effects of the work with music in the psychosis clinic. For such, the first part of the work tries to explain the reader, what we understood as a psychotic structuring under the psychoanalytic perspective. It is from that same perspective that we explain the field of experience and the research method. In that sense, we start from two main subjects: one of them concerns the narration, as a possibility of transmission of the unconscious experience; the other, the ficcional character that is produced starting from the clinical experience. Based on Freud, mainly through the Constructions in Analysis text, from 1937, we sustain the presentation form entitled “Memoirs of the Clinic.” Three fragments from the clinical experience which relate the central subjects of the work: the psychosis clinic and music. The first memory happens at a music workshop, inserted in a CAPS (Psycho-social Service Center) of the city of Porto Alegre. In the flood of Julia´s words we heard the imprisonment to the word of the Other and the possibility that, through music, the subject may take the word, becoming more in consonance with the time of the Other and the other ones. The second, appeared in a therapeutic assistance, places the following question: how to silence the Other? Here it was also through music that this possibility appeared. And, finally, the third memory whose context is the individual listening of a patient in a school clinic. In that scene, the voice, as a pure object, takes a presence function. The memoirs took us to the paths of the constitution of the subject. Taking the psychosis and the music as guides, we ventured in that primordial operation, through subjects as the invoking pulsion, fortda, the mirror, the language: essential concepts and operations in the hope that a subject may come. To work with the waiting and with the opening of intervals is a constant challenge in the listening of psychotics. In our experience, the music has appeared as a potent path in that work of creating intervals. Through the variations of the object of the invoking pulsion that the music turns on, the word circulates again. To give the word to the subject: isn’t that dealt with in psychoanalysis? And what effects may the music have in that operation? From that analysis upsurges the subject of silence, as an essential element in the direction of the psychoses treatment.

La clinique auprès d’adolescents amène le psychologue à s’interroger sur la place qu’occupent le regard et la voix au cours de cette traversée. Si ces deux objets sont au cœur de la naissance du sujet, leur nouage devient incertain au temps de l’adolescence. Les fugues ado- lescentes, que nous désignons par le terme « disparition » adviennent comme le témoignage d’un dénouage : celui du regard et de la voix. Ainsi, disparaître, c’est s’arracher au silence de l’Autre, un silence vociférant, structuré comme comme un mauvais œil. Il s’agit, alors, de créer un lieu, un espace — celui de la disparition — à partir duquel pourra se penser le retour. / The adolescent’s clinic brings the psychologist to question the place of the look and the voice during this passing through time. Even if these two items are central in the subject’s birth, their knotting becomes uncertain at the time of adolescence. Teenage runaways, in what we could refer as « disappearance » happens as the testimony the unknotting : that one of the look and the voice. Thus, to disappear, is to draw off the silence of Other one, a vociferous silence, structured like a jaundiced eye. It is a question, then, to create a place, a space — the one of disappearence — from where the return can be thought.

L’enfant, en dessinant, crée et organise son monde, il y inscrit son identité. L’expression de l’inconscient exige cette nécessité de mise en forme que les productions picturales viendront étayer, notamment dans le champ clinique et thérapeutique de l’enfant. L’acte sublimatoire se révèle être un acte de détournement pulsionnel de son but premier : la satisfaction immédiate à même le corps. Les tableaux de peintres accueillent cette dynamique sublimatoire dont font preuve les artistes. Le dessin de l’enfant pour sa part, se fait support de cette symbolisation, c’est en mettant dehors, en donnant forme à ce qui échappe, en le regardant de loin que l’enfant arrive à le réintégrer et le rendre sien, toujours soutenu par une relation transférentielle, dans un lien à l’autre. Les apports théoriques illustrés par les vignettes cliniques nous amènerons finalement à répondre à notre interrogation première : l’enfant sublime-t-il en dessinant ? / The child, when he draws, creates and organizes his world, he inscribes his identity. The expression of the unconscious requires this need of formatting which will underpin pictorial productions, particularly in the clinical and therapeutic field of children. We will talk about imaginarisation, symbolization and especially sublimation. The act of sublimation proves to be an act of avoids the “pulsion”’s primary goal: the immediate satisfaction on the body. The paintings demonstrate this dynamic process. The work of art itself is a sort of a story of life, survival times, presentation, subject to the gaze of the other, without being made to please. The picture is more than a mere attempt of symbolization. The drawing of the child for its part is supporting this symbolization, always supported by a transference relationship. The theory illustrated by clinical vignettes will bring us finally to answer our first question: is it a question about sublimation when the child draws?

Les jeunes marins que nous sommes amenés à rencontrer dans le cadre de notre activité clinique semblent être dans un balancement entre le désir de voyager et une tendance naturelle à vouloir rester à terre, à proximité de leur famille. Au-delà de la description symptomatologique, qui évoque ce que l'on appelle communément une dépendance affective, définie par le fait que le sujet a des difficultés à s'éloigner de ses repères affectifs, et est en proie, lorsqu'il y est confronté, à la dépression, nous nous sommes demandés si cette dépendance n'était pas en tout point constitutive de la subjectivité humaine. En effet, l'enfant se développe au plan psychique dans une dépendance à la mère, avant de s'autonomiser progressivement, tout en gardant inscrites dans son inconscient les marques de cette dépendance. Qu'est-ce qui, dans ce contexte, invite les marins au voyage ? Dans cette perspective, nous avons, par l'étude de la littérature classique, exploré le déterminisme de ces êtres, tel qu'il a été perçu et décrit par les écrivains au fils des époques. Nous avons découvert chez ces marins un dualisme entre volonté de découverte, d'exploration, et besoin de demeurer sur la terre ferme. Nous avons également mis en évidence que la navigation faisait office de contenant pour le psychisme, et permettait de lutter contre la survenue d'une dépression secondaire à la séparation. Nous avons aussi démontré qu'il existait chez certains de ces marins une réactualisation de la problématique œdipienne. Enfin, nous en avons conclu qu'il s'agissait pour eux de mettre en œuvre, au travers de cette problématique, leur propre rapport à la vie et à la mort.

Les jeunes marins que nous sommes amenés à rencontrer dans le cadre de notre activité clinique semblent être dans un balancement entre le désir de voyager et une tendance naturelle à vouloir rester à terre, à proximité de leur famille. Au-delà de la description symptomatologique, qui évoque ce que l’on appelle communément une dépendance affective, définie par le fait que le sujet a des difficultés à s’éloigner de ses repères affectifs, et est en proie, lorsqu’il y est confronté, à la dépression, nous nous sommes demandés si cette dépendance n’était pas en tout point constitutive de la subjectivité humaine. En effet, l’enfant se développe au plan psychique dans une dépendance à la mère, avant de s’autonomiser progressivement, tout en gardant inscrites dans son inconscient les marques de cette dépendance. Qu’est-ce qui, dans ce contexte, invite les marins au voyage ? Dans cette perspective, nous avons, par l’étude de la littérature classique, exploré le déterminisme de ces êtres, tel qu’il a été perçu et décrit par les écrivains au fils des époques. Nous avons découvert chez ces marins un dualisme entre volonté de découverte, d’exploration, et besoin de demeurer sur la terre ferme. Nous avons également mis en évidence que la navigation faisait office de contenant pour le psychisme, et permettait de lutter contre la survenue d’une dépression secondaire à la séparation. Nous avons aussi démontré qu’il existait chez certains de ces marins une réactualisation de la problématique œdipienne. Enfin, nous en avons conclu qu’il s’agissait pour eux de mettre en œuvre, au travers de cette problématique, leur propre rapport à la vie et à la mort. / In our clinical domain, we are bound to come across young sailors who seem torn between a sheer desire to take to sea and a natural attraction to the shore, close to their loved ones. The symptomatogical description, more commonly know as an emotional dependence, refers to the patient's difficulty to move away from his emotional markers and his proclivity to depression in such instance. Our research work has consisted in reflecting on the close link between that very dependence and human subjectivity. Indeed, a child's psychological development depends on the mother, retaining unconscious traces of that dependence while gradually acquiring his autonomy. So we may wonder what attracts sailors to embark on a journey in that particular context. Therefore we have explored the determinism of those beings as felt and described in classical literature. We have found that these sailors waver between exploring the world and staying ashore. We have also highlighted that navigating takes the role of a recipient to the mind/psyche and enables the subject to fight any depression resourcing from separation. We have also shown that some sailors experience a return to an oedipal condition. Finally, we have come to the conclusion that, by means of experience, sailors work through their own relationship to life and death.

Ce mémoire a pour but d’élucider l’analyse et l’évaluation nietzschéennes du sens et de la portée de la figure de Socrate dans les cultures antique et moderne. Pour ce faire, nous nous pencherons d’abord sur la question de l’identité de Socrate, ce qui permettra d’introduire une distinction centrale à l’analyse de Nietzsche, soit celle entre la doctrine et la personnalité du célèbre Athénien. En effet, Nietzsche isole la personnalité de Socrate, qu’il circonscrit à partir des notions d’instinct, de pulsion et d’affect, de sa doctrine, qu’il appelle le socratisme et qu’il définit à partir de l’équation socratique raison = vertu = bonheur. Ensuite, nous développerons les trois éléments sur lesquels il s’appuie pour expliquer que Socrate ait pu séduire les Grecs, soit le fait qu’il fut un grand érotique, qu’il introduisit une nouvelle forme de joute à Athènes et qu’il apparut comme étant un médecin pour ses contemporains. Cette question des raisons permettant d’expliquer que Socrate ait pu séduire les Grecs est déterminante pour Nietzsche, puisque c’est de là qu’il est amené à se demander qui est ce Socrate et quel a été son véritable impact sur la culture, soit les deux questions qui sont au cœur de ce qu’il appelle « le problème de Socrate ». Enfin, nous nous pencherons sur le diagnostic que le philosophe allemand pose sur le célèbre Athénien ainsi que sur son évaluation de l’impact du socratisme sur les cultures antique et moderne, après quoi nous présenterons l’inversion des valeurs que Nietzsche tente d’opérer dans sa propre culture. Nous verrons alors qu’il cherche entre autres par cette inversion des valeurs à nous libérer du socratisme, car il est d’avis que cette doctrine dévalorise toute forme d’agir puisant ses motifs dans ce qui relève de l’inconscient et survalorise une morale luttant contre les pulsions dominantes en nous. / The purpose of this thesis is to investigate Nietzsche’s analysis and assessment of the meaning and the impact of Socrates’ character on the classical and modern culture. To that effect, I will emphasize the question of Socrates’ identity, in order to introduce the crucial issue in Nietzsche’s analysis, namely the distinction between Socrates’ doctrine and his character. Nietzsche isolated Socrates’ character – which he defined through the categories of instinct, drive, and affect – from his doctrine, which he labelled socratism and defined through the Socratic equation reason = virtue = happiness. This thesis explores the three core elements Nietzsche used to explain how Socrates was able to seduce the Greeks: not only was Socrates a very erotic figure, he also introduced a new form of debate to Athens, and was considered an eminent physician by his contemporaries. Socrates’ appeal to the Greek is of fundamental importance to Nietzsche, since it prompted him to question Socrates’ inherent character, and his true impact on Athenian culture. It thus forms the crux of what he called “the problem of Socrates.” Nietzsche’s understanding of socratism as well as its impact on classical and modern culture allows him to revaluate all values within his own culture. To that effect, I reveal Nietzsche’s critiques of socratism – in particular, his belief that society needed to be liberated from socratism, since it denies all agency to individuals. Given that it was strongly motivated by the unconscious, socratism, according to Nietzsche, overemphasizes a certain morality in the struggle against our dominant impulses.

Cette étude vise à comprendre le rôle de l’histoire dans la philosophie de Nietzsche et à faire ressortir son lien étroit avec l’articulation du corps vivant comme fil conducteur philosophique. Notre objectif principal est de montrer comment cette philosophie aphoristique a su maintenir les préoccupations historiographiques de jeunesse en permutant leur sens à l’aune de la pulsionnalité interprétative du corps. Prenant notre départ des considérations critiques écrites lors de son professorat à Bâle, nous démontrons que le sens historique se manifeste alors comme une sensibilité historique déterminée par une saisie intuitive, mais existentiellement difficile, du passé. Nous procédons ensuite à décrire comment le renouveau philosophique de sa période intermédiaire peut être vu comme une réduction pathologique de l’histoire de la métaphysique qui emprunte ses éléments critiques au scepticisme de Michel de Montaigne, à l’évolutionnisme naissant et au développement du néo-kantisme. Cette réduction, qui ramène l’expression des valeurs morales et métaphysiques au corps vécu (Leib). Par sa déconstruction de la subjectivité au profit d’une réalité pulsionnelle primordiale, mais irréductible, nous démontrons ensuite comment Nietzsche a su réinterpréter l’hérédité biologique comme une mémoire physiologique incorporée dont l’expression première est la reconduction de la notion d’espèce à celle de type. Enfin, par un retour à la sensibilité historique et notre analyse du phénomène historique en tant que tel, nous proposons de comprendre l’articulation ultime de la philosophie nietzschéenne comme une philosophie historique qui ne cherche pas à comprendre ou à expliquer le devenir, mais en opérer la synthèse par le truchement de « l’instant décisif ». / This study aims to understand the role played by history in Friedrich Nietzsche’s philosophy and its underappreciated relation to the introduction of the body (Leib) as its philosophical red-thread. Our main goal is to show how his philosophy was able to preserve the historiographical interests on his early period by transforming history’s importance in accordance with the body’s constitutive forces. Starting with his critical discussion of history during his professorship in Basel, we demonstrate how he understood the historical sense as a form of historical sensibility determined by an intuitive yet existentially demanding grasp of the past. We then describe the philosophical renewal of his middle period as a reduction of the history of metaphysics to pathological states that owes much to Michel de Montaigne’s skepticism, nascent evolutionary biology and the burgeoning neo-Kantian movement. By bringing moral and metaphysical values to determinate bodily states, Nietzsche introduces the body as philosophically significant. By a careful reading of contemporary science and its influence on Nietzsche’s thinking, we show how the deconstruction of human subjectivity into its primordial physiological existence culminates in a reinterpretation of biological heredity as a form of incarnate memory, which reduces the concept of biological species to that of morphological types. Finally, we return to our initial discussion of our historical sensibility in order to demonstrate how Nietzsche’s philosophy is through and through historical and seeks not to understand Becoming but to decisively synthesise and decide our historical destiny.

À une époque qui se concentre sur l’avenir de l’humanité, Maupassant s’intéresse aux origines. Pour lui, l’homme est un « animal humain » en qui coexistent le moderne et l’archaïque. C’est à ce regard original que nous invite son œuvre, qui travaille à montrer le primitif dans et non contre le civilisé. En quoi le primitif est-il une figure dérangeante ? En quoi le rapport à la nature et au corps est-il primitif ? Ici, le rapport à la nature, le corps, la sexualité, l’animalité, la bêtise sont traités comme des composantes irréductibles de l’humain. Mais la nature et le corps sont fondamentalement ambivalents. La figure du primitif, par son inscription dans la matière, est donc un miroir troublant tendu à l’homme du XIXe siècle. Ainsi définie, la notion de primitif fonctionne, si l’on peut dire, comme un pavé dans la mare, qui éclabousse la notion de civilisation et ses valeurs. Dénonçant la société comme dénaturée, Maupassant en vient à mettre en question la définition même de la civilisation et à mettre en cause l’opposition traditionnelle entre sauvage et civilisé. L’acception anthropologique de la notion de primitif, et plus particulièrement le principe de « participation », jettent a posteriori un éclairage singulier sur l’œuvre. C’est l’angle d’attaque de la dernière partie. Parce qu’elle échappe au normatif, la figure du primitif met à mal ce qui, dans la société, a valeur de cadre, de loi. Aussi assiste-t-on chez Maupassant au brouillage des différenciations sexuelle, sociale et morale, ainsi qu’au brouillage des frontières entre folie et raison, et entre fantastique et réaliste. De cet ébranlement des repères participe, enfin, une écriture elle-même primitive. / At a time when the future of humanity was all that mattered, Maupassant focused on the origins. For him man is a “human animal” combining elements of both modern and archaic behaviour. This original approach is the one Maupassant wants us to adopt with regard to his work, in which he endeavours to reveal the primitive aspect of man within his civilized refinement and not in opposition to it. In what way is the primitive an element which is disturbing? How does Maupassant portray the relationship between nature and the human body as primitive? He describes nature, the body, sexuality, animality and stupidity as irreducible components of man. However, nature and the human body are fundamentally ambivalent. The primitive element holds up a disturbing mirror image to the 19th century man. As such, it is tantamount to setting the cat among the pigeons, thereby tarnishing the notion of civilized man and his values. By condemning society as unnatural, Maupassant challenges the actual definition of civilized behaviour, and questions the traditional opposition between the civilized and the uncivilized. The anthropological acceptance of the concept of primitive, and in particular the principle of “participation”, in hindsight throws a different light on Maupassant’s works. This is the angle adopted in the last section. Because it defies norms, the notion of primitive refutes what constitutes the framework and laws of society. Hence Maupassant’s works blur the distinctions between social, sexual and moral behaviour, as well as those between madness and reason, between fantasy and realism. Lastly Maupassant contributes to this breakdown of bearings with his primitive style of writing

Dans cette thèse sur Hélène Cixous, l’écriture fictionnelle est abordée sous l’angle de son intimité propre. Dans les textes littéraires, l’intimité qui en découle étant en général attribuée à l’écrivain, seul garant du texte, ce travail de recherche met l’accent sur le volet autonome de l’écriture relégué de plus en plus à un rang secondaire au profit d’une renaissance de l’auteur. Or, à regarder de près le processus d’avènement de l’écriture – qui, d’ailleurs, chez Hélène Cixous ne se dissocie pas de l’activité onirique ou de la dynamique pulsionnelle – et à interroger l’acte de lecture, il y a quelque chose qui, tout en se donnant, échappe ou se garde. Ce don et ce retrait invite à traiter de l’intimité de l’écriture eu égard à sa dynamique autonome. L’approche du sujet s’est voulue pluridisciplinaire en allant du champ littéraire à celui psychanalytique. Les premières analyses montrent d’abord un parallèle entre la pulsion et l’écriture avant de finir par identifier une pulsion d’écriture et de s’achever en mettant en crise la notion d’auteur et mettant en évidence un Etre-écriture autonome. L’analyse de la question de l’intimité fait le constat selon lequel, l’intimité est dans les fictions d’Hélène Cixous un espace de communication essentiellement littéraire. Communication qui souligne la structure bipartite de l’intimité de l’écriture. Celle-ci se compose de son intimité propre et prend en compte l’exergue d’intimité de la narratrice écrivaine. L’étude des figures de l’intimité permet de mettre en lumière le jeu de l’écriture et de l’intimité en soulignant que si l’intimité se donne dans les fictions cixousiennes, elle se donne surtout par le biais de l’autre. C’est l’autre, l’écriture qui révèle l’intimité. En fin de compte cette thèse montre que l’écriture d’Hélène Cixous à une intimité propre que le lecteur se doit de séparer de celle de l’écrivaine. Même si son écriture met en exergue des indices autobiographiques, il n’en reste pas moins qu’ils sont pris dans le vertige de la fiction. / In this thesis dedicated to Hélène Cixous, we approach the fictional writing from the perspective of its own intimacy. The resulting intimacy is generally attributed to the writer, the only guarantor of the text. The present research puts the emphasis on the independent component of writing increasingly relegated to a secondary position in favor of the author. Yet, when observing closely the process of writing - which incidentally, is not dissociated from dream or drive in writings of Hélène Cixous - and examining the act of reading, there is something that, even if revealed completely, escapes or holds back. Such "giving" and such "escaping" invite us to address the intimacy of writing with respect to its autonomous dynamic. A multidisciplinary approach to the subject is required. This ranges from literature to psychoanalysis. The early analyses show firstly a parallel between drive and writing before identifying the drive writing and finishing by putting in crisis the notion of authorship by highlighting autonomous "Self-writing". Based on analysis of intimacy we found that, the intimacy in Hélène Cixous´ fiction refers essentially to a literary communication, the communication that emphasizes a bipartite structure of the intimacy of writing. It is composed of its own intimacy of writing taking into account a part of the intimacy of the narrator. The study of figures of intimacy highlights the play of writing and intimacy. Furthermore it emphasizes that the intimacy present in Cixous’ fiction is especially revealed through the writing. Finally, the present thesis shows the intimacy specific to Hélène Cixous’ writings which is to be separated, in reader’s perspective, from that of the author. Although Cixous’ texts affirm autobiographical evidence, it is nevertheless caught up in the dynamic of fiction.