Although at the end of the nineteenth century, Positivist rationalism con tests the existence of premonition, it occupies a major place in the productions of Maeterlinck, Proust and the Surrealists (Breton, Crevel). Starting from this paradox, the thesis establishes the genealogy of premonitory phenomena and attests their denial by synchronic rational thinking (Freud, Bergson). The study dismisses the critical patterns belonging to structuralism for being unable to fully describe the phenomenon in the texts and relies instead on the critical concept of temporality apparatus ('di spositif de temporalité') while extending apparatus theory ('théorie des dispositifs') to temporal studies. Thus it becomes possible to explore the connections between the real (or Real) and representations of reality in works. The essay also investigates the dynamic phenomena of premonition as fundamental means of translation between these two temporal planes at the heart of dramatic or literary representation. In conclusion, the text is shown to be a focal point where authors rethink the changes in temporal systems around 1900 and produce these temporal apparatus in order to allow the spectators or reader to experience the vertiginous contact with what Lacan calls the other scene ('l 'autre scène'). Replacing he play of relations within the temporal apparatus in the Human Sciences field (anthropology and neurobiology), this study claims, at a third level described by psychoanalysis, the vital free space offered to creators to conduct their fundamental, original aesthetic experiments in singular time.
