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This paper will focus on the way the poetics of Benjamin Fondane is configured in spite of his refusal to accept a unitary definition of poetry. In his theoretical approach, in his polemical forewords, and especially in his essays Rimbaud le Voyou, Faux Traité d'Esthétique and Baudelaire et l'expérience du gouffre, Benjamin Fondane sharpens the contradictions between poetry and poetics, between reality and knowledge, between the unexplainable miracle of life and the aseptic critical spirit, between the abyss of the Unknown and the limitations of the poetical expression. The harsh reproach formulated by Benjamin Fondane touches the core of the crisis of modernity: the "ashamed poetical conscience” tries to reduce poetry to a balanced rational discourse deprived of extreme emotions, reducing the tragic tension between rationality and irrationality to a "false unity”. On the contrary, for Benjamin Fondane the paradoxical essence of poetry consists in being situated in this point of maximum tension above the abyss, refusing any synthesis. This transdisciplinary hermeneutical approach tries to enlighten the paradoxical vision of Benjamin Fondane's poetics of the abyss from the perspective of the paradigm of the included middle developed from Stéphane Lupasco to Basarab Nicolescu. [ABSTRACT FROM AUTHOR]

This article focuses on Ovidiu Baron's book, Paysage et image poetique chez Ilarie Voronca, Benjamin Fondane et Henri Michaux (Landscape and poetical image at Ilarie Vor onca, Benjamin Fondane and Henri Michaux). The study is a comparative analysis of the three authors from the perspective of the poetical image and trying to highlight the ar tistic features of the two Romanian poets, Ilarie Voronca and Benjamin Fundoianu, and to provide new openings to the exegesis of Henri Michaux. [ABSTRACT FROM AUTHOR]