Abstract EN:

The french poet yves bonnefoy (1923), for whom critical work is an essential aspect of the creative process, and the dutch painter and experimental poet lucebert (1924) don't seem to have anything in common. The confrontation though, focused on their first poetry book (resp. : du mouvement et de l'immobilite de douve (of the mouvement and the immobility of douve) (1953) and apocrief. De analphabetische naam (apocryphal. The analphabetic name) 1952) opens to a better understanding of some fundamental aspects of the creation around 1950 and equally implies a reassessment of the means and aim persued by scientific analysis of poetry. Three approaches are examined : r. Jakobson's poetic is applied to the "romeinse elehymnen" "roman elehymns), a cycle of three poems by lucebert; the phenomenological analysis of r. Ingarden gives a deeper insight in douve's meaning, after studying the prehistory of the book, espacially the poet's years of surrealism; heidegger's radical thought finally, introduces a better comprehension of these two poets without reducing the originality of their endeavour. Through those three stages, the meaning, semiotically defined at first, is extended to the notion of destiny in progress. Time - as duration - and space, where poetry and art meet, outline the experience of the concrete. This experience founds a poetry which is, in it's essence, an uprising. Taking in account this uprising, which can also be found in the work of a. Giacometti or bram van velde for instance, demands a redefinition of the subject : instead of descartes' co- gito, appears an "i", determined by it's questionning and assuming within it's life, it's own death. Lucebert and bonnefoy share the same initial experience of alienation. Beyond all that separates their work, both make an attempt in their poetry to re- join the earth in it's presence and regain a place to live. This attempt opens a concrete compass wherein the act of reading, as an incarnation of the reader's commitment, unfolds itself.