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Sophie Calle's texts are elaborate devices that facilitate the production of figures, of complex symbolic entities. In fact, her work enables us to better understand how figures emerge and unfold in the imaginary. Thus, we find in her Disparitions (Disappearances), a startling figure, which we can name the "Vanished Child". I will present this figure and explain how it stems from the description of a painting by Rembrandt, stolen at the Gardner Museum in Boston. I will start by identifying some of the essential processes implied in the identification of a figure, and, to do so, I will give two short examples, drawn from Witold Gombrowicz and Don DeLillo. Then, after having described in details the figure of the Vanished Child, I will argue, following the French art historian Georges Didi-Huberman in his reading of Walter Benjamin, that figures are auratic objects. Dans ses textes, Sophie Calle emploie des techniques detaillees qui facilitent la production de figures, d'entites symboliques complexes. Son œuvre nous permet effectivement de mieux comprendre comment les figures emergent et se deploient dans l'imaginaire. Ainsi, nous trouvons dans ses Disparitions (Disappearances) une figure surprenante que nous pouvons designer comme « l'enfant disparu ». Je presenterai cette figure en expliquant comment elle decoule de la description d'un tableau de Rembrandt vole au musee Gardner a Boston. J'identifierai d'abord quelques-uns des procedes essentiels a l'identification d'une figure, et pour ce faire je donnerai deux exemples, tires des œuvres de Witold Gombrowicz et Don DeLillo. Puis je decrirai de facon detaillee la figure de l'enfant disparu, avant de demontrer le caractere auratique des figures a partir de la lecture de Walter Benjamin qu'execute l'historien de l'art francais Georges Didi-Huberman.

The Vanished Child. An inquiry into Figures and their Modes of Apparition