Abstract Considering the theme of catastrophe in the works of Philippe Vasset entails encountering a paradox: almost all of his texts gravitate around various disasters affecting the contemporary world (from global warming to armed conflicts), and yet the author does not theorize this fact, nor do his texts contain an explicit denunciation of these catastrophes (with only one exception). This article examines theoretical and literary works by Vasset, and refers to critical studies of his texts (by Églantine Colon, Éric Trudel, and Pascal Mougin), to propose an explanation of this paradox. The absence of a condemnation of contemporary disasters in this author’s works is interpreted as the result of his idealization of a mystical type of ecstasy which possesses catastrophic features. I analyze the main thematical and formal aspects of this mysticism and of the literary aesthetics it generates (such as the erasure of the narrator and the use of parataxis) in “L’Exofictif,” Carte muette, Exemplaire de démonstration, and Un livre blanc. Based on the notion of parataxis as defined in Jean-François Lyotard’s Le Différend and on references to La Conjuration and Une vie en l’air, the article ultimately suggests a political function for the ecstatic experience of catastrophe elaborated by Vasset.

中文翻译：

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«喜欢上班族的形式，»Philippe Vasset的神秘与美学

摘要考虑到菲利普·瓦塞特（Philippe Vasset）作品中的灾难主题，必然会遇到一个悖论：他的所有著作几乎都着重于影响当代世界的各种灾难（从全球变暖到武装冲突），但作者并没有将这一事实理论化，他的文章是否明确谴责了这些灾难（只有一个例外）。本文研究了Vasset的理论和文学作品，并引用了对他的著作的批判性研究（由ÉglantineColon，ÉricTrudel和Pascal Mougin撰写），提出了这一悖论的解释。作者的作品中没有对当代灾难的谴责，这被解释为是他对具有灾难性特征的神秘型摇头丸的理想化的结果。我分析了《神秘主义》，《卡特·穆埃特》，《示威示范》和《无情的白兰地》中这种神秘主义及其产生的文学美学的主要主题和形式方面（例如叙述者的消除和对位的运用）。 。基于让·弗朗索瓦·利奥塔德（Jean-FrançoisLyotard）的《勒·迪法伦德》（LeDifférend）中定义的形合意念，并参考《 La Conjuration》和《 Une vie en l'air》，本文最终提出了Vasset精心设计的，对狂喜的狂喜经历的政治功能。