In Survivance des lucioles, Didi-Huberman rejects Pier Paolo Pasolini's and Denis Roche's pessimism concerning the fate of the fireflies' glow and identifies 'image' understood in broadly Benjaminian terms, as the prime locus of luciolic' operations. The author wants to add what people might call the image of Marcel Proust to Didi-Huberman's eclectic list. In doing so, we will hear an echo of the title of a well-known essay by Walter Benjamin and hope to remain in line with Didi-Huberman's notion of 'image'. Proust's cascading substitution of words also creates an inversion of habitual semantic hierarchies a decentring effect at the level of the sens' of the sentence. While we may be inclined to accept Robbe-Grillet's suggestion that the sens' of Roland Barthes's work is to be found in its movement between intermittent fragments, then, reading Barthes on Proust also reveals that the glissement' and clairage intermittent' of Barthes's work its resistance to blinding lucidity is Proustian.