ABSTRACT
Though the spaces approached via the term of utopia are all eminently practical aspects of poetic work, the recourse to a discourse of the utopian may similarly have appeared to suggest that the account being developed is an essentially metaphorical one. Harold Bloom, in his theory of influence, establishes a horizon of the death of poetry through 'entropy'. It is the same theory Victor Segalen held of culture itself towards the beginning of the last century. Disenchantment represents the negative pole of poetic 'work' — the purity of the given, without any positional tension of the subject in its respect. The utopian, an economy of 'hope', comes to represent the supplementarity of the subject in respect of the real — that with which it cannot argue, but to which it can never be reduced.
