The main hypothesis of this study is that the works of Maurice Blanchot (collections of critical essays, novels as short stories) are part of a metapolitical projet pervaded by the question of sovereignty. And it is that precisely this inquiry that supplies the juncture point beteween Blanchot's public interventions and his literary texts. The crucial part played in this work by the Revolution and the Law, as well as the allegorical anchoring of his texts in the historical conditions that preside to their production, are elements that exceed the neo-modernist ideology. On the other hand, Blanchot's is a pivotal work that announces a turning point that equally affects the juridical mediation of power, focalized on the person of the Sovereign, and the idea of the aesthetic state that postulates an essential connection between the artistic creation and the constitution of the community. Blanchot's case is a token of a renewal in the conditions of representation, and this may be the reason why his work is a milestone for the contemporary thought that brings forth a post-sovereign paradigm. With regard to the body of work analyzed, we made the choice to study the texts less read by the critiques. Consequently, rather than focusing on the well known critical books, we investigated what seems to be the veiled section of Blanchot's undertaking : the texts of the 1930's, for a large part never reprinted since their apparition ; the literary columns published in Journal de débars between 1940 and 1944 ; the political and cultural articles subsequent of the political turn that takes place in 1958 ; and finally, the first dystopical stories, « Le dernier mot' and « L'Idylle », as well as the novel Le Très-Haut.
