With recurring motifs of spirals, falling, taking flight, acceleration, emptiness, and others besides, the works of Blaise Cendrars often appear euphoric or even stupefying. Via the agitation of people and things, and with the legends of the one-handed poet slipped in, Cendrars’s works attempt to recreate the bustling movement of life. The notion of vertigo expresses a dizziness of the mind and senses that allows the reader to form a singular understanding of this whirlwind of a literary universe. Vertigo is more than a theme here as it evoked by means of writing techniques as much as by the ethical questions of the texts. In a series of notes written between 1910 and 1912, and up until the 1931 publication of the anthologie Aujourd’hui, how does the motif of Vertigo depict a special relationship with the world ?In this thesis we wish to show that a multitude of miscellaneous textes from this era, such as Les Armoires Chinoises, La fin du monde filmée par l’Ange N.-D., L’Eubage or Une nuit dans la forêt, together create a poetic style characterised by giddiness. This complex style is forged among evocations of chaos and rebirth, to try to put into words a modern world turned upside down. But it is mainly in the novels L’Or, John Paul Jones, Moravagine, Le Plan de l’Aiguille et Les Confessions de Dan Yack, that the sensation of vertigo is evoked with the greatest zeal. Vertigo appears to be the fundamental characterisation technique used for the hero, a man torn between angst and extasy, action and contemplation. Via his blackouts, trances and instability, a picture is painted of a man always trying to prove himself, at the risk of exhaustion. It is these configurations of Cendrar’s particular relationship with the world and what this worldview brings to his novels that we propose to examine, by way of a commentary of several scenes involving these motifs of movement.