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In  De l’imperfection  (1987), A. J. Greimas presents elements of a semiotic aesthetics based essentially on the poetic analysis of the five senses (especially vision, hearing, touch, and smell). His philosophical engagement is platonizing. However, his reading of the texts of Tournier, Calvino, Tanizaki, and Cortazar makes us discover a Greimas who is deeply interested in polysensorial and synesthetic experiences. Without mentioning explicitly one or another relation between his aesthetic analyses and Paul Valéry’s writings, Greimas shows a similar sensibility, mainly concerning the aesthetic potentialities of tactility. The praise of the touching and caressing hand is very prominent in  De l’imperfection , and Greimas, just like Valéry, enthusiastically theorizes the relation of the eye with the hand. The two authors also similarlyconceive of the materiality of the artistic object, formed by a tormented creator. We have noticed that Greimas and Valéry develop a similar aesthetics of the aesthetic shock – they present a parallel, even analogical speculation with regard to the haptic organization of sensorial life.

L’esthétique de Greimas face aux sensibilités valéryennes