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Pascal AQUIEN, Sale temps sur Amherst: de l'abstraction du réel au primat du signifiant Cet article s'interroge, à partir du concept d'abstraction, sur un poème d'Emily Dickinson, « An awful tempest mashed the air » (1861), dont la thématique conventionnelle, l'évocation d'une tempête et l'apaisement qui s'ensuit, est contredite par son ambiguïté textuelle. D'un côté, l'espoir et la satisfaction du retour à la norme sont posés comme des évidences désirables et désirées, de l'autre les signifiants qui travaillent le texte minent la fausse simplicité du discours. En particulier, le mot paradise, qui conclut le poème, pose problème, et l'analyse détaillée de l'écriture va tenter d'en révéler le sens a priori inattendu. Based on the analysis of the notion of abstraction in "An awful tempest mashed the air," by Emily Dickinson, the article discusses the poem's conventional dramatic theme, the description of a tempest followed by the restoration of atmospheric order. On the one hand, hope and satisfaction are taken for granted, on the other hand, the signifiers at work in the poem contradict and undermine the artificial simplicity of discourse. Above all, the final word, paradise, involves many issues, both literary and ideological, and the detailed analysis of the poem will try to reveal its unexpected meaning. Michael EDWARDS, Hearing Eliot now Hearing the voice, or voices, that speak in Eliot's poetry becomes more difficult as readings (and especially melancholy readings) of his work accumulate. Listening to what is said and how, in The Waste Land in particular, reveals the pursuit of a voice beyond harm, the countering of negative forces by the sheer resourcefulness of poetry in the making. Eliot's purifying of speech enables an ethical and ontological purification of the person (speaking is being), an unsettling of the self and the discovering of a dangerous and salutary new self. Entendre la voix, ou les voix, qui parlent dans la poésie d'Eliot