Examen corrigé Université de Montréal Thèse numérique Papyrus ...

158the primal scene of experience and of narration. Such regression accounts for the impossibility ofconceptualizing the figure of the double, itself a figuration of regression and impossibility. Infact, the disseminated textual signs and the similarities between them contribute to the creation ofdoubles and re-doubles.Emerging from the need for referentialityor, really, from the prosopoetics of thenarrativethe specter, another manifestation of duality, offers the possibility of re-covering someorigins. The specter as defined by Abraham and Torok is a metaphor of the unconsciousrepresentations of a subject that contains a conflict, a pain that is outside of it, that inhabits itselfin a crypt. Trauma as exposed by Freud and developed by other contemporary theoreticiansexplains the work of the double. Freud talks about everything that is related to the poetics of thedouble. However, it is very important to note the immaterial dimension of the double. The poeticsof the double, like the Freudian concept of the uncanny, goes beyond the confines of life anddeath. This theory is expanded by the work of Abraham and Torok who, with their theory ofcryptonymy, will recover something of the original meaning of the double in the form of a crypt.In this respect, there is, of course, something disruptive in the figure of the double. It is verycommon that the doppelgängers that inhabit Melville’s narrative are manifestations ofpsychological phenomena. We have learnt from Freud and from the analytical school ofpsychoanalysis that the double is a manifestation of a desireor, a lack emanating from socialand cultural constraintsthat seeks to coincide with something that is not accessible. Humanisttradition used the double is used to confirm the unity of the human subject, or what Paul de Mancalls the transcendent symbol, or signifiedthe unity of the self, God, and the word. Read in