ABSTRACT
Insisting, on the contrary, on the image’s role in putting writing into play, I shall propose a double hypothesis:
(1) The image is a marginal constant accompanying Blanchot’s entire critical thought, from the gaze of Orpheus in The Space of Literature to the gaze of Narcissus in The Writing of the Disaster: this is to say that the image, without lending itself to stable definition, works at the margins of the text, where the uncertainty of the notion helps, precisely, to prevent the stabilization of the discourse in a unified utterance.
